{"id":6886,"date":"2020-12-14T11:54:46","date_gmt":"2020-12-14T16:54:46","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/sibley\/?page_id=6886"},"modified":"2020-12-14T11:54:46","modified_gmt":"2020-12-14T16:54:46","slug":"ser3-4","status":"publish","type":"page","link":"https:\/\/www.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/hhanson\/ser3-4\/","title":{"rendered":"HOWARD HANSON COLLECTION"},"content":{"rendered":"

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<\/a>Series 3: Manuscripts<\/h3>\n

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

<\/a>Sub-series A: Original compositions<\/span><\/em><\/p>\n

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folder 1<\/strong><\/td>\n[Along the wayside]
\nAlong the wayside: suite for the pianoforte. \u2014 [without date]
\nInk manuscript; 11 pages of music.
\nNo. 1. The bell \u2014 No. 2. The pilgrim \u2014 No. 3. The voice.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\n[Before the dawn, opus 17]
\nBefore the dawn, opus 17: symphonic poem. \u2014 [without date]
\nFor orchestra.
\nInk manuscript; 47 parts.
\n25 parts in autograph MS:
\nPiccolo \/ Flute I \/ Flute II \/ Oboe I \/ Oboe II \/ Clarinet I in B-flat \/ Clarinet II in B-flat \/ Bassoon I \/ Bassoon II \/ Horn I \/ Horn II \/ Horn III \/ Horn IV \/ Trumpet I \/ Trumpet II \/ Trombone I \/ Trombone II \/ Trombone III \/ Tuba \/ Tympani \/ Violin I \/ Violin II \/ Viola \/ Violoncello \/ Bass\/
\n22 parts in scribal MS:
\nViolin I (6) \/ Violin II (5) \/ Viola (4) \/ Violoncello (4) \/ Bass (1) \/ C. Bass (2).<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\n[Before the dawn, opus 17]
\nBefore the dawn, opus 17: symphonic poem. \u2014 [without date]
\nFor orchestra.
\nMS repro score; 17 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\n[Before the dawn, opus 17]
\nBefore the dawn, opus 17. \u2014 [without date]
\nMS repro score; 20 pages of music. (N.B. A different rendering than that housed in box 30\/3.)<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\n[Bell]
\nThe bell.<\/em> \u2014 [without date]
\nFor piano.
\nInk MS on Ozalid masters; 2 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\n[Bell]
\nThe bell. \u2014 [without date]
\nMS repro, printed from Ozalid masters housed in box 30.5<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\n[Bold Island Suite, opus 46]
\nBold Island Suite, opus 46.<\/em> \u2014 Aug. 23rd, 1961.
\nFor orchestra.
\nFull score. Ink MS on Ozalid masters; 114 pages of music.
\n\u201cTo Carl Eckstrom in loving memory.\u201d\u2014In caption on first page of music.
\nCopyright 1962 Eastman School of Music.
\n1. Birds at the sea. \u2014 2. Summer seascape. To Blanche and Edward Benjamin. \u2014 3. God in Nature.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\n[Bold Island Suite, opus 46]
\nSketch for \u201cSummer seascape\u201d. \u2014 [without date]
\nInk MS on Ozalid masters; 16 pages of music.
\nScored on two staves throughout; with pencilled annotations.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\n[California Forest Play of 1920, opus 16]
\nThe forest play: prelude and ballet. \u2014 1919
\nFull score. Ink MS on Ozalid masters; 30 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\n[California Forest Play of 1920, opus 16]
\nForest play: prelude and ballet. \u2014 [without date]
\nInk MS; 21 parts.
\n5 parts in autograph MS:
\nPiano \/ Violin I (2) \/ Violin II (2).
\n16 parts in scribal MS:
\nFlute \/ Oboe \/ 1st Clarinet in B-flat \/ 2nd Clarinet in B-flat \/ Bassoon \/ 1st Horn in F [added in pencil: Horns I & II] \/ 2nd Horn in F [added in pencil: Horns III & IV] \/ Tympani A. D-flat & E \/ Violin I (2) \/ Violin II \/ Viola \/ Violoncello (3) \/ Bass<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\n[California Forest Play of 1920, opus 16]
\nA forest play: cantata for soprano, baritone and chorus. Episode two ( \u201cThe sowing\u201d ). \u2014 [without date]
\nVocal score. Ink MS; 7 pages of music.
\nWords by Don Richards.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\n[California Forest Play of 1920, opus 16]
\nFrom \u201cThe forest play\u201d ballet. \u2014 [without date]
\nPiano score. Ink MS on Ozalid masters; 10 pages of music.
\nIn a copyist\u2019s hand.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\n[California Forest Play of 1920, opus 16]
\nPrelude and ballet to the forest play \u201cThe soul of Sequoia\u201d \u2014 [without date]
\nInk sketches: 1 page for piano with accompanying parts, all crossed out in blue pencil.
\nAccompanied by a MS notebook containing sketches in pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\n[California Forest Play of 1920, opus 16]
\nThe forest play: prelude and ballet. \u2014 [without date]
\nMS repro score; 12 pages of music, bound.
\nPrinted from the Ozalid masters housed in box 30\/9.
\nInside front cover inscribed by Hanson with respect to date, venue, and performing forces of the first performance.
\nAccompanied by a negative photostatic reproduction of the pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\n[California Forest Play of 1920, opus 16]
\nThe forest play: prelude and ballet. \u2014 [without date]
\nFull score. MS repro; 30 pages of music.
\nPrinted from the Ozalid masters housed in box 30\/9.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\n[California Forest Play of 1920, opus 16]
\n\u201cPrelude and ballet\u201d to the Forest play. \u2014 [without date]
\n10 parts in MS repro:
\nViolin I (3) \/ Violin II (2) \/ Violas \/ Violoncellos (2) \/ Bass (2).
\nThe notation in two of the violin I parts rendered in HH hand; all the others in the hands of copyists.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\n[California Forest Play of 1920, opus 16]
\nPrelude and ballet from the California \u201cForest play\u201d of 1920. \u2014 [without date]
\nSpecial arrangement for two pianos and orchestra.
\nFull score, hardbound. MS repro with pasted-on additions in ink; 12 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\n[California Forest Play of 1920, opus 16]
\nContains two manifestations:
\n<\/em>Episode two, \u201cThe sowing\u201d.
\nNegative photostatic copy of the MS housed in box 31\/1.
\nEpisode three.
\nNegative photostatic copy of autograph MS; 12 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\n[California Forest Play of 1920, opus 16]
\nA forest play. Episode two. \u2014 [without date]
\nChoral score. Negative photostatic copy of autograph MS; 2 pages of music.
\nTwo copies of same.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\n[Centennial March]
\nCentennial march. \u2014 [without date]
\nFor orchestra.
\nFull score. Ink MS on Ozalid masters; 34 pages of music.
\n\u201cDedicated to the 100th Anniversary of the admission to the Union of my native state, Nebraska\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\n[Centennial March]
\nCentennial march. \u2014 [without date]
\nFull score, hardbound. MS repro sourced from Ozalid masters housed in box 32\/1.
\n\u201cCommissioned by the Ohio Music Educators Association\u201d \u2014in caption on first page.
\nAnnotated and corrected by HH in blue and red pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\n[Centennial March]
\nCentennial march. \u2014 [without date]
\nFor orchestra.
\nFull score, hardbound. MS repro sourced from Ozalid masters housed in box 32\/1.
\nBears no additional markings.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\n[Centennial Ode]
\n[Centennial Ode] \u2014 May 19, 1950.
\nFor orchestra with narrator.
\nFull score. Ink MS on Ozalid masters; 33 pages of music (numbered: 1-5, 13-28, \u201cDrum Taps\u201d insert, C1-C6, D1-D6).
\nCaption of first page lacking owing to previous cropping of the leaf.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\n[Centennial Ode]
\nCentennial ode. \u2014 [without date]
\nChorus part. Pencil MS; 4 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\n[Centennial Ode]
\nCentennial ode. \u2014 [without date.]
\nChorus part. Ink MS on Ozalid masters; 5 pages of music.
\nIn a copyist\u2019s hand.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\n[Centennial Ode]
\nCentennial ode. \u2014 [without date]
\nFull score. MS repro sourced from Ozalid masters housed in box 28\/4; 21 pages of music, numbered 1-5, insert (consisting of pages 158-164 from the Symphony No. 3), 13-28.
\nBears performance markings in pencil.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\n[Centennial Ode]
\nCentennial ode. \u2014 [without date]
\nChorus part. MS repro sourced from Ozalid masters housed in box 32\/6.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\n[Cherubic Hymn]
\nThe cherubic hymn, op. 37 \u2014 [without date]
\nFor chorus and orchestra.
\nFull score. Ink MS on Ozalid masters; 42 pages of music.
\nText from the Greek Catholic liturgy; arr. for use in English by Stephen A. Hurlbut.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\n[Cherubic Hymn]
\nThe Cherubic Hymn, opus 37 \u2014 Jan. 12, 1949.
\nVocal score. Ink MS on Ozalid masters; 22 pages of music.
\nOrchestral accompaniment arranged for piano.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\n[Cherubic Hymn]
\nSketches. MS in ink and in pencil; 16 pages of music, unnumbered.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\n[Cherubic Hymn]
\nThe Cherubic Hymn, op. 37 \u2014 [without date]
\nFull score, bound. MS repro sourced from Ozalid masters housed in box 32\/9.
\n\u201cTo my Mother\u201d\u2014dedication at head of first page.
\nBears performance annotations in blue pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\n[Choral Responses]
\n[Choral responses] \u2014 [without date]
\nFor mixed chorus.
\nChoral score. Pencil MS on Ozalid masters; 2 pages of music.
\nText from three sources: John 4:24; Psalm 65:1; and one anonymous text (Our hearts and lips show forth Thy praise).<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\n[Choral Responses]
\n[Choral responses] \u2014 [without date]
\nChoral score. MS repro; 2 pages of music. (N.B. A different rendering from that housed in box 33\/1.)
\nLiturgical use indicated by sentences explicitly assigned to Minister.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\n[Chorale and Alleluia]
\nChorale and Alleluia. \u2014 Christmas 1953
\nFor symphonic band.
\nFull score. Ink MS on Ozalid masters; 21 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\n[Chorale and Alleluia]
\nChorale and alleluia. \u2014 [without date]
\nParts. Ink MS on Ozalid masters; 39 parts.
\nIn a copyist\u2019s hand.
\nPiccolo \/ Flute I \/ Flute II \/ Oboe I \/ Oboe II \/ English horn \/ Bassoon I \/ Bassoon II \/ Contra bassoon \/ E-flat clarinet \/ Clarinet I \/ Clarinet II \/ Clarinet III \/ Clarinet IV \/ Alto clarinet \/ Bass clarinet \/ Contra-bass clarinet \/ E-flat alto saxophone I \/ E-flat alto saxophone II \/ B-flat tenor saxophone \/ E-flat baritone saxophone \/ Horn I in F \/ Horn II in F \/ Horn III in F \/ Horn IV in F \/ Cornet I in B-flat \/ Cornet II in B-flat \/ Cornet III in B-flat \/ Trumpet I in B-flat \/ Trumpet II in B-flat \/ Trumpet III in B-flat \/ Baritone \/ Trombone I \/ Trombone II \/ Trombone III \/ Basses \/ Timpani \/ Tenor drum, field drum, bass drum, Tam-tam \/ Snare drum, suspended cymbal.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\n[Chorale and Alleluia]
\nSketches. Ink and pencil MS; 8 leaves.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\n[Chorale and Alleluia]
\nChorale and Alleluia. \u2014 Christmas 1953
\nFull score, hardbound. MS repro sourced from Ozalid masters housed in box 33\/3.
\nBears no added markings.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\n[Concerto da camera, opus 7]
\nConcerto in C minor, opus 7. \u2014 [without date]
\nPiano reduction score. Ink MS; 30 pages of music (of which 1-24 are numbered).
\nOrchestral accompaniment reduced to two-stave keyboard accompaniment.
\n\u201cUnto Thee lift I up mine eyes, O Thou that dwellest in the heavens.\u201d\u2014in caption on first page.
\n\u201cBegun in spring of \u201916 and finished during summer and first year at College of Pacific. Performed at May Festival, May 1917 by Hanson and Warren D. Allen. Played each year \u201917, \u201918, \u201919, \u201920, \u201921 at College by students.\u201d\u2014at foot of first page.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\n[Concerto da camera, opus 7]
\nConcerto da camera, opus 7. \u2014 1916-17
\nFor pianoforte and string quartette [sic].
\nInk MS; 4 parts. Autograph.
\nBear performance markings in pencil.
\nViolino primo \/ Violino secondo \/ Viola \/ Violoncello.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\n[Concerto da camera, opus 7]
\nConcerto da camera in C minor, opus 7. \u2014 [without date]
\nFull score. Ink MS on Ozalid masters; 31 pages of music.
\nIn a copyist\u2019s hand.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\n[Concerto da camera, opus 7]
\nConcerto da camera. \u2014 [without date]
\nParts. Ink MS; 4 parts. In a copyist\u2019s hand.
\nBear performance markings in pencil.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\n[Concerto da camera, opus 7]
\nConcerto da camera, op. 7. \u2014 [without date]
\nParts. Ink MS on Ozalid masters; 4 parts. (N.B. A different rendering than the parts housed in box 33\/10.)<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\n[Concerto da camera, opus 7]
\nConcerto da camera, op. 7 (1916-17). \u2014 [without date]
\nFull score. MS repro; 31 pages of music.
\nThree copies, each bound.
\nIn a copyist\u2019s hand.
\nEach of the two spiral-bound copies bears performance markings in red pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\n[Concerto da camera, opus 7]
\nConcerto da camera, op. 7 (1916-17). \u2014 [without date]
\nParts. MS repro; sourced from the Ozalid masters housed in box 29\/11.
\nIn a copyist\u2019s hand.
\nEach copy of each part bears performance markings in pencil.
\nViolin I (4 copies) \/ Violin II (4 copies) \/ Viola (4 copies) \/ Violoncello (4 copies).<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\n[Concerto for Organ and Orchestra, opus 27]
\nSeparated to box 63\/1.<\/em><\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\n[Concerto for Organ and Orchestra, opus 27]
\nOrgan concerto. \u2014 [without date]
\nConductor\u2019s score. MS repro; 44 pages of music.
\nThe orchestral accompaniment reduced to three staves.
\nIn a copyist\u2019s hand.
\nBears performance markings in pencil and red pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\n[Concerto for Organ, Strings, and Harp, opus 22, no. 3]
\nConcerto for organ, strings and harp, opus 22, no. 3. \u2014 [without date]
\nPiano reduction score. Ink MS on Ozalid masters; 33 pages of music.
\nThe orchestral accompaniment arranged for piano.
\n\u201cTo Harold Gleason\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\n[Concerto for Organ, Strings, and Harp, opus 22, no. 3]
\nConcerto for organ, strings and harp, op. 22, no. 3. \u2014 [without date]
\nFull score, bound. MS repro; 58 pages of music.
\nIn a copyist\u2019s hand.
\nBears no added markings.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\n[Concerto for Piano and Orchestra, opus 36]
\nConcerto for piano and orchestra, opus 36. \u2014 [without date]
\nFull score, incomplete. Ink MS on Ozalid masters; 9 pages of music (numbered: 1, 4, 21, 26, 38, 39, 40, 41, 48).
\n\u201cTo the memory of Natalya Koussevitzky\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\n[Concerto for Piano and Orchestra, opus 36]
\nMS sketches in pencil and in ink.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\n[Concerto for Piano and Orchestra, opus 36]
\nConcerto in G major for pianoforte and orchestra. \u2014 Aug. 1st 1948.
\nFull score, bound. MS repro; 112 pages of music.
\nBears HH\u2019s performance markings in pencil, red pencil, and blue pencil.
\n\u201cTo Natalya Koussevitzky in affectionate memory\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\n[Concerto for Piano and Orchestra, opus 36]
\nConcerto in G major for pianoforte and orchestra. \u2014 Aug. 1st 1948.
\nFull score, bound. MS repro; 112 pages of music. (N.B. Same rendering as that housed in box 35\/1.)
\nInside front cover marked \u201cDr Howard Hanson\u2019s personal copy\u201d in a hand other than Hanson\u2019s.
\n\u201cTo Natalya Koussevitzky in affectionate memory\u201d\u2014in caption on first page.
\nBears Hanson\u2019s performance markings in pencil, specifically with attention to the piano solo part.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\n[Concerto for Piano and Orchestra, opus 36]
\nConcerto for piano and orchestra. \u2014 [without date]
\nTwo-piano score. MS repro; 49 pages of music.
\n\u201cTo the memory of Natalya Koussevitzky\u201d\u2014in caption on first page.
\nBears Hanson\u2019s performance markings in pencil, specifically with attention to the piano solo part.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\n[Concerto for Piano and Orchestra, opus 36]
\nConcerto for piano and orchestra. \u2014 [without date]
\nTwo-piano score. MS repro; 49 pages of music.
\nTwo copies. One copy bears performance markings in pencil; the other copy unmarked.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\n[Dance of the wood-nymphs]
\nDance of the wood-nympths [sic]: a moonlight fantasia. \u2014 [without date]
\nFor piano solo.
\nInk MS; 6 pages of music.
\n\u201cComposed Aug. 1912. Excelsior Sprgs, Mo. First public performance Excelsior Sprgs, Mo. Private Musicale.\u201d\u2014on page facing first page of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\n[Dances]
\n[Dances] \u2014 [without date]
\nFor piano solo. Ink MS; 13 pages of music (paginated separately: 3, 5, 5).
\nEach movement headed by its own caption title.<\/p>\n
    \n
  1. Elfin dance \u2014 II. Witches dance \u2014 III. Dance of the spirits.<\/li>\n<\/ol>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 32″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607963444874{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
    folder 1<\/strong><\/td>\n[David]
    \nOratorio, \u201cDavid\u201d \u2014 [without date]
    \nFor mixed vocal quartet, string quartet, pipe organ, piano, tenor soloist, and bass soloist.
    \nFull score, bound. Ink MS; 87 pages of music, unnumbered.
    \nNo. 1. Instrumental; voices tacit. \u2014 No. 2. (Tenor solo) O Lord, our Lord, how excellent Thy name in all the world. \u2014 No. 3. (Bass solo) Consider Thy heav\u2019ns, the work of Thy hands. \u2014 No. 4. (Chorus) For Thou hast made him a little lower than the angels; In Thee, O Lord, I put my trust; let me never be brought to confusion.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[David]
    \nDavid. Part I. \u2014 [without date]
    \nParts. Ink MS; 3 parts present.
    \nFirst violin \/ Second violin \/ Viola.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Deserted Convent]
    \nThe deserted convent \/ composed by Howard Harold Hanson. \u2014 [without date]
    \nFor violoncello solo.
    \nInk MS; 7 pages of music, unnumbered.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Deserted Convent]
    \n[The deserted convent] \u2014 1913.
    \nSketch. Ink MS; 2 pages of music.
    \nAccompanied by: Class song \u201cMusic class of 1912, L.C.\u201d \/ H. H. Hanson. \u2014 spring 1912.
    \nPencil MS; 2 pages of music.
    \nWords by Ethyle Wilson.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Dies Natalis]
    \nDies Natalis II: Introduction, chorale, variations and finale. \u2014 Oct. 24, 1970.
    \nFor symphonic wind ensemble.
    \nFull score. Ink MS on Ozalid masters; 50 pages of music.
    \n\u201cTo Donald Hunsberger and the Eastman Wind Ensemble\u201d\u2014at foot of first page.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Dies Natalis]
    \nDies Natalis: for band. \u2014 [without date]
    \nPiano-conductor score. Ink MS on Ozalid masters; 18 pages.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Dies Natalis]
    \nDies Natalis II. \u2014 Oct. 24, 1970.
    \nFull score, bound. MS repro, sourced from the Ozalid masters housed in box 36\/5.
    \n\u201cWritten for the Centennial of my native State, Nebraska, under the title \u201cDies Natalis\u201d for orchestra, the second version, for symphonic band, is dedicated to Donald Hunsberger and the Eastman Wind Ensemble\u201d\u2014at foot of first page.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Dies Natalis]
    \nDies Natalis: for band. \u2014 [without date]
    \nPiano-conductor score, bound. MS repro, sourced from the Ozalid masters housed in box 36\/6.
    \nTwo copies; neither bears any added markings.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Dream]
    \nA dream \/ words by Latouche Hancock; music by Howard Hanson. \u2014 [without date]
    \nFor voice with piano.
    \nInk MS; 5 pages of music.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Dreams]
    \n[Dreams] \u2014 [without date]
    \nLacks a caption title; text attribution also lacking.
    \nFor voice with piano. Ink MS; 6 pages of music.
    \nFirst lines of text: Dreams, old dreams, is a funny old man, you never, no, never can tell \/ Which of the dreams, which the night time comes, He is bringing to you to sell.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Elegy, opus 44]
    \nElegy. \u2014 [without date]
    \nFor orchestra.
    \nParts. Ink MS on Ozalid masters; 25 parts.
    \nIn a copyist\u2019s hand.
    \nFlute I \/ Flute II \/ Oboe I \/ Oboe II \/ Clarinet I in B-flat \/ Clarinet II in B-flat \/ Bassoons \/ Horn I in F \/ Horn II in F \/ Horn III in F \/ Horn IV in F \/ Trumpet I in B-flat \/ Trumpet II in B-flat \/ Trumpet III in B-flat \/ Trombone I \/ Trombone II \/ Trombone III \/ Tuba \/ Timpani \/ Harp \/ Violin I \/ Violin II \/ Viola \/ Violoncello \/ Bass.<\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\n[Elegy, opus 44]
    \nSketch. Pencil MS; 10 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 33″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607963570515{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Exaltation, opus 10]
    \nExaltation, opus 10 \/ Howard H. Hanson. \u2014 [without date]
    \nFor voice with piano.
    \nInk MS; 2 pages of music.
    \n\u201cTo my friend, Miss Flossita Badger.\u201d\u2014At head of first page.
    \n\u201cWritten sometime during \u201917-\u201918 and sung by Miss Badger May 20, 1918.\u201d\u2014in left margin of first page.
    \nFirst line of text: I have learned this lore, the Love Divine.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Exaltation, opus 10]
    \nExaltation: for low voice. \u2014 [without date]
    \nFor voice with piano. Ink MS on Ozalid masters; 2 pages of music.
    \nIn a copyist\u2019s hand.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Exaltation, opus 10]
    \nExaltation: for high voice. \u2014 [without date]
    \nFor voice with piano. Ink MS on Ozalid masters; 2 pages of music.
    \nIn a copyist\u2019s hand.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Exaltation, opus 10]
    \nExaltation: for low voice. \u2014 [without date]
    \nMS repro sourced from Ozalid masters housed in box 37\/2.
    \nFour copies, each unmarked.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Exaltation, opus 10]
    \nExaltation: for high voice. \u2014 [without date]
    \nMS repro sourced from Ozalid masters housed in box 37\/3.
    \nFour copies, each unmarked.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Exaltation, opus 20]
    \nSymphonic poem, op. 20. \u2014 [without date]
    \nParts. Ink MS; 21 parts.
    \nIn a copyist\u2019s hand.
    \nMost of the parts bear performance annotations in pencil.
    \nPiccolo \/ Flute I \/ Flute II \/ Oboe I \/ Oboe II \/ Clarinet I in B-flat \/ Clarinet II in B-flat \/ Bassoon I \/ Bassoon II \/ Horns in F \/ Horns I and II in F \/ Horns III and IV in F \/ Trumpet in B-flat \/ Cornet I in B-flat \/ Cornet II in B-flat \/ Trombone \/ Trombone I \/ Trombone II \/ Trombone III \/ Tuba \/ Timpani in C-D-G.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Exaltation, opus 20]
    \nExaltation, opus : symphonic poem for piano and orchestra \/ Howard H. Hanson. \u2014 [without date]
    \nTwo-piano score. MS repro; 15 pages of music.
    \nOrchestral parts reduced for second piano.
    \nFour copies, of which one is bound and one is a negative photostatic copy.
    \n\u201cNote: \u2018Exaltation\u2019 is the second of a group of Symphonic Poems, the first of which is \u2018Before the Dawn\u2019.\u201d\u2014at foot of first page.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Fanfare]
    \nUniversity of Rochester fanfare. \u2014 [without date]
    \nFor three trumpets in B-flat.
    \nScore. Ink MS; 1 page of music.
    \nMS previously in the collection of the Eastman School of Music Orchestra Library, the stamp of which it bears.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Fanfare]
    \nFanfare. \u2014 [without date]
    \nFor four horns in F, four trumpets in B-flat, three trombones, tuba, and timpani.
    \nScore. Ink MS; 1 page of music.
    \nIn a copyist\u2019s hand.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Fanfare]
    \nFanfare for three trumpets. \u2014 [without date]
    \nFor three trumpets in B-flat.
    \nParts. Ink MS; 3 parts.
    \nCorresponds to the score housed in box 37\/8.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Fanfare for the Signal Corps]
    \nFanfare for the signal corps. \u2014 [without date]
    \nFor horns in F, trumpets in B-flat, trombones or tuba, snare drums, tenor drums, and timpani.
    \nFull score. Ink MS on Ozalid masters; 6 pages of music.
    \n\u201cTo my dear friend, Eugene Goossens, in affectionate admiration.\u201d\u2014at head of first page.<\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\n[Fanfare for the Signal Corps]
    \nFanfare for the signal corps. \u2014 [without date]
    \nParts. Ink MS on Ozalid masters; 14 parts.
    \nIn a copyist\u2019s hand.
    \n1st horn in F \/ 2nd horn in F \/ 3rd horn in F \/ 4th horn \/ 1st trumpet \/ 2nd trumpet \/ 3rd trumpet \/ 1st trombone \/ 2nd trombone \/ 3rd trombone \/ Tuba \/ Snare drum \/ Tenor drums \/ Timpani<\/td>\n<\/tr>\n
    folder 13<\/strong><\/td>\n[Fanfare for the Signal Corps]
    \nFanfare for the signal corps. \u2014 [without date]
    \nFull score. MS repro, sourced from the Ozalid masters in box 37\/11.<\/td>\n<\/tr>\n
    folder 14<\/strong><\/td>\n[Fanfare for the Signal Corps]
    \nFanfare for the signal corps. \u2014 [without date]
    \nParts. MS repro, sourced from the Ozalid masters housed in box 37\/12.
    \nIn a copyist\u2019s hand.<\/td>\n<\/tr>\n
    folder 15<\/strong><\/td>\n[Fantasia, A Minor]
    \nFantasia in A minor \/ composed by Howard Harold Hanson, Wahoo Nebr.
    \nFor piano solo.
    \nInk MS; 6 pages of music.
    \n\u201cComposed 1912. Wahoo, Nebr. First performance, graduation recital. L.C.\u201d\u2014on page facing first page.<\/td>\n<\/tr>\n
    folder 16<\/strong><\/td>\n[Fantasia of the Northland]
    \n[Title lacking] \u2014 [without date]
    \nFor piano solo.
    \nPencil MS; 4 pages of music.<\/td>\n<\/tr>\n
    folder 17<\/strong><\/td>\n[Fantasia of the Northland]
    \nFantasia of the Northland. \u2014 [without date]
    \nMS repro; 4 pages of music.
    \nA different rendering than that housed in box 37\/16.
    \n\u201cComposed Spring 1913.\u201d\u2014added in ink at head of first page.<\/td>\n<\/tr>\n
    folder 18<\/strong><\/td>\n[Fantasy, string orchestra]
    \nFantasy for string orchestra (based on String quartet, opus 23). \u2014 July 7, 1939
    \nFull score. Ink MS on Ozalid masters; 44 pages of music.<\/td>\n<\/tr>\n
    folder 19<\/strong><\/td>\n[Fantasy, string orchestra]
    \nFantasy for string orchestra \/ based on String quartet, opus 23). \u2014 [without date]
    \nFull score. MS repro; sourced from the Ozalid masters housed in box 37\/18.
    \nPreviously housed in either the SML stacks or the ESM Orchestra Library.
    \n\u201cFirst performance this version Eastman Chamber Orchestra 21 July 1960. Frederick Fennell.\u201d\u2014in caption on first page of music.
    \nWith conductor\u2019s markings in FF\u2019s hand in pencil throughout.<\/td>\n<\/tr>\n
    folder 20<\/strong><\/td>\n[Fantasy Variations on a Theme of Youth, opus 40]
    \nFantasy variations on a theme of youth. \u2014 [without date]
    \nFor piano orchestra and string orchestra.
    \nTwo-piano score. Ink MS on Ozalid masters; 21 pages of music.
    \n\u201cWritten for the Centennial of my alma mater, Northwestern University.\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
    folder 21<\/strong><\/td>\n[Fantasy Variations on a Theme of Youth, opus 40]
    \nFantasy variations on a theme of youth. \u2014 Jan. 3rd, 1951.
    \nFull score. MS repro; 25 pages of music.
    \n\u201cWritten for the Centennial of my alma mater, Northwestern University.\u201d\u2014in caption on first page.
    \nDoes not bear any added markings.<\/td>\n<\/tr>\n
    folder 22<\/strong><\/td>\n[Fate]
    \nFate \/ music by Howard Harold Hanson. \u2014 spring \u201915 [i.e., 1915]
    \nFor soprano with piano.
    \nInk MS; 3 pages of music.
    \nWords anonymous. First lines of text: The tall palms ware [sic] their slender hands \/ Above the reaches of the foam.<\/td>\n<\/tr>\n
    folder 23<\/strong><\/td>\n[First Modern Fugue]
    \nFirst \u201cmodern fugue\u201d \/ by Howard Hanson. \u2014 [without date]
    \nFor piano solo. Ink MS; 2 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 34″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188556429{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[For the first time]
    \nFor the first time. \u2014 [without date]
    \nFor orchestra.
    \nFull score. Ink MS on Ozalid masters; 58 pages of music.
    \nBells \u2014 Tamara and Peter Bolshoi (Two playful Irish terrier puppies with Russian names) \u2014 The deserted house \u2014 The eccentric clock \u2014 Deep forest \u2014 Clowns \u2014 Dance \u2014 Serious conversations \u2014 Kikimora (A Russian fairy tale) \u2014 Mist \u2014 Fireworks \u2014 Dreams.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[For the first time]
    \nFor the first time. \u2014 [without date]
    \nParts. Ink MS on Ozalid masters; 16 parts.
    \nIn a copyist\u2019s hand.
    \nFlute I \/ Flute II-Piccolo \/ Oboes I-II \/ Bassoons I-II \/ Clarinet I in B-flat \/ Clarinet II in B-flat \/ Horns I-II in F \/ Timpani \/ Percussion \/ Piano-Celeste \/ Harp \/ Violin I \/ Violin II \/ Violas \/ \u2018Cellos \/ Basses<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[For the first time]
    \nFor the first time: twelve impressions in a child\u2019s day. \u2014 [without date]
    \nFor piano solo. Ink MS on Ozalid masters; 25 pages of music.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[For the first time]
    \nFor the first time. \u2014 [without date]
    \nFor orchestra.
    \nFull score, bound. MS repro, sourced from Ozalid masters housed in box 38\/1.
    \nTwo extra pages \u201cFireworks\u201d tipped in at end of score.
    \nBears performance annotations in Hanson\u2019s hand in pencil throughout, and his timings facing the first page of music.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[For the first time]
    \nSketches. MS in ink and pencil.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[For the first time]
    \nFor the first time: twelve impressions in a child\u2019s day. \u2014 [without date]
    \nFor piano solo.
    \nMS repro score, sourced from the Ozalid masters housed in box 38\/3.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Four poems, opus 9, no. 1]
    \n[Sonata, A minor, opus 11]
    \n[Three miniatures, opus 12]
    \nManuscript book containing the following:
    \n\u20a1
    \nPoemes erotique [sic] \/ Howard Harold Hanson. \u2014 [without date]
    \nFor piano solo. Ink MS; 13 pages of music.
    \n\u201cThe Four \u2018Poemes Erotiques\u2019 are my first studied attempt at \u2018psychological\u2019 writing. Written during my first year at Pacific and performed here. The third and fourth have a slightly morbid tendency reflecting a perturbed state of mind. Opus number is Op. 9, Nos. 1, 2, 3, & 4.\u201d\u2014Composer\u2019s note at foot of third page of music.
    \nNo. 1. Peace \u2014 No. 2. Joy \u2014 No. 3. Yearning [pages are blank<\/em>] \u2014 No. 4. Desire.
    \n\u20a1
    \nSonata, opus 11. \u2014 [without date]
    \nInk MS; 23 pages of music, unnumbered.
    \nIncomplete: several pages contain blank measures; pages 18 and 19 contain blank lines; and the last page of music lacks a definite conclusion.
    \n\u201cWritten during summer of 1918. Performed April 7, 1919.\u201d\u2014in left margin on first page of music.
    \n\u20a1
    \nThree miniatures, opus 12, nos. 1-2-3. \u2014 [without date]
    \nInk MS; 5 pages of music.
    \nNo. 1. Reminiscence \u2014 [No. 2.] Lullabye \u2014 [No. 3.] Longing.
    \n\u201cWritten 1918-19. First performed Apr. 7 \u201919.\u201d\u2014in left margin on first page of music.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Four Psalms]
    \nFour Psalms. \u2014 [without date]
    \nFor baritone with piano or organ. MS repro; 24 pages of music.
    \nIn a copyist\u2019s hand.
    \nPsalm 46 (God is our refuge and strength) \u2014 Psalm 6 (O Lord, rebuke me not in Thine anger) \u2014 Psalm 47 (O clap your hands) \u2014 Psalm 8 (O Lord, our Lord, how excellent Thy name).<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Gavotte in G]
    \nGavotte in G \/ composed by Howard H. Hanson. \u2014 [without date]
    \nFor piano solo.
    \nPencil MS; 3 pages of music.
    \n\u201cWith the compliments of the composer, Howard. H. Hanson \/ Wahoo, Nebr.\u201d\u2014at end of music.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Gavotte in G]
    \nGavotte : for string quartette [sic]. \u2014 [without date]
    \nParts. Ink MS; 4 parts.
    \nSame music as that housed in box 38\/9.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 35″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188569555{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Heroic Elegy, opus 28]
    \nHeroic elegy. \u2014 [without date]
    \nParts. Ink MS; 32 parts
    \nIn copyists\u2019 hands.
    \nPiccolo \/ 1st Flute \/ 2nd Flute \/ 1st Oboe \/ 2nd Oboe & English horn \/ 1st Clarinet in B-flat \/ 2nd Clarinet in B-flat \/ 1st Bassoon \/ 2nd Bassoon \/ Double bassoon \/ 1st Horn in F \/ 2nd Horn in F \/ 3rd Horn in F \/ 4th Horn in F \/ 1st Trumpet in C \/ 2nd Trumpet in C \/ 3rd Trumpet in C \/ 1st Trombone \/ 2nd Trombone \/ 3rd Trombone \/ Trombone \/ Tuba \/ Timpani \/ Percussion I (bass drum & cymbals) \/ Percussion II (snare drum & gong) \/ Percussion \/ Organ (2) \/ Bass (4).<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Heroic Elegy, opus 28]
    \nHeroic elegy: Beethoven Centennial 1927. \u2014 [without date]
    \nFor strings.
    \nParts. MS repro; four parts
    \nNegative photostatic copies.
    \nViolin I \/ Violin II \/ Viola \/ \u2018Celli<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[How Excellent Thy Name, opus 41]
    \nHow excellent Thy name. \u2014 [without date]
    \nFor SATB choir with organ.
    \nFull score. Ink MS; 5 pages of music.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[How Excellent Thy Name, opus 41]
    \nHow excellent Thy name. \u2014 [without date]
    \nFull score.
    \nInk MS on Ozalid masters; 8 pages of music.
    \nIn a copyist\u2019s hand.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[How Excellent Thy Name, opus 41]
    \nPencil sketches. 4 pages of music.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[How Excellent Thy Name, opus 41]
    \nO Lord our Lord, how excellent Thy name. \u2014 [without date]
    \nFor SSAA with piano.
    \nMS repro; 9 pages of music.
    \nTen copies.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[How Excellent Thy Name, opus 41]
    \nHow excellent Thy name. \u2014 [without date]
    \nMS repro sourced from Ozalid masters housed in box 39\/4.
    \nThree copies.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Hymn, Creator of Infinities]
    \nHymn \/ [music by] Howard Hanson; [text by] Chadwick Hansen. \u2014 [without date]
    \nFor SATB voices.
    \nMS repro; 1 page of music.
    \nIn a copyist\u2019s hand.
    \nTwo copies.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Hymn for the Pioneers]
    \nHymn for the Pioneers: for the Swedish tercentenary 1638-1938. \u2014 [without date]
    \nFor TTBB men\u2019s voices a cappella.
    \nInk MS on Ozalid masters; 6 pages of music.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Hymn for the Pioneers]
    \nHymn for the Pioneers: for the Swedish tercentenary 1638-1938). \u2014 [without date]
    \nFor SATTBB voices a cappella.
    \nInk MS on Ozalid masters; 8 pages of music.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Hymn for the Pioneers]
    \nSeparated to box 64\/1 (oversized).<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 36″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188581885{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Hymn for the Pioneers]
    \nHymn for the Pioneers (for the Swedish Tercentenary 1638-1938). \u2014 [without date]
    \nFor men\u2019s voices a cappella.
    \nScore. MS repro, sourced from the Ozalid masters housed in box 39\/9.
    \nPublisher\u2019s proof copy. Copyright 1938 by J. Fischer & Bro.
    \nAccompanied by three additional repro copies sourced from the same set of Ozalid masters, and by a negative photostatic copy of the same rendering.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Hymn for the Pioneers]
    \nHymn for the Pioneers (for the Swedish Tercentenary 1638-1938). \u2014 [without date]
    \nFor SATTBB voices a cappella.
    \nMS repro score, sourced from the Ozalid masters housed in box 39\/10.
    \nFour copies of same, accompanied by one negative photostatic copy of the same rendering.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Hymn of Praise]
    \nHymn of praise \/ Howard Harold Hanson. \u2014 [without date]
    \nFor soprano solo, chorus, piano, pipe organ and string quartette [sic].
    \nFull score. Ink MS; 16 pages of music.
    \nScore incomplete.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Hymn of Praise]
    \nSong of praise: 114th Psalm \/ composed by Howard H. Hanson. \u2014 [without date]
    \nFor mixed quartette [sic], string quartette [sic], piano and pipe organ.
    \nWords from the 114th Psalm.
    \nInk MS choral score (3 pages of music), piano part (6 pages of music), and organ part (6 pages of music).
    \nAccompanied by a second choral score not in Hanson\u2019s hand (5 pages of music.)<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Idylls of Spring]
    \nFor piano solo. Two movements present:
    \n\u20a1
    \nMarsh Winds (first in suite of \u201cIdylls of Spring\u201d)
    \nPencil MS; 3 pages of music.
    \n\u20a1
    \nApril rain (second in suite \u201cIdylls of Spring\u201d)
    \nPencil MS; 3 pages of music.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[In memoriam Lyndol Mitchell]
    \nIn memoriam, Lyndol Mitchell. \u2014 [without date]
    \nN.B. Lyndol Mitchell, ESM graduate and faculty member (served 1952-63); died on February 19th, 1963.
    \nFor organ.
    \nInk MS; 2 pages of music.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[In memoriam Lyndol Mitchell]
    \nIn memoriam, Lyndol Mitchell. \u2014 [without date]
    \nFor organ.
    \nInk MS on Ozalid masters; 2 pages of music.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Intermezzo capriccio]
    \nIntermezzo capriccio \/ composed by Howard H. Hanson. \u2014 [without date]
    \nFor piano solo.
    \nPencil MS; 3 pages of music.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Kyrie eleison]
    \nKyrie Eleison in A minor \/ Howard Harold Hanson. \u2014 [without date]
    \nFor double chorus.
    \nChoral score. Ink MS; 11 pages of music.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Lament for Beowulf, opus 25]
    \nThe Lament for Beowulf. \u2014 [without date]
    \nFor orchestra.
    \nParts. MS repro; 25 parts (woodwinds, brass, and percussion).
    \nIn a copyist\u2019s hand.
    \nProvenance: Summy-Birchard Publishing Company; formerly rental material. Several parts bear the stamp of C. C. Birchard & Co.
    \nPiccolo \/ 1st Flute \/ 2nd Flute \/ 1st Oboe \/ 2nd Oboe \/ 1st Clarinet (in B-flat) \/ 2nd Clarinet (in B-flat) \/ 1st Bassoon \/ 2nd Bassoon \/ Contra-Bassoon \/ 1st Horn in F \/ 2nd Horn in F \/ 3rd Horn in F \/ 4th Horn in F \/ 1st Trumpet in C \/ 2nd Trumpet in C \/ 3rd Trumpet in C \/ 1st Trombone \/ 2nd Trombone \/ 3rd Trombone \/ Tuba \/ 1st Tympany [sic] \/ 2nd Tympany [sic] \/ Drums (Snare Drum, B. Dr.) ; Gong & Cymbals.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Lament for Beowulf, opus 25]
    \nThe Lament for Beowulf. \u2014 [without date]
    \nFor orchestra.
    \nParts. MS repro; 18 parts (strings).
    \nIn a copyist\u2019s hand.
    \nProvenance: Summy-Birchard Publishing Company; formerly rental material. Several parts bear the stamp of C. C. Birchard & Co.
    \nHarp \/ 1st Violin (5) \/ 2nd Violin (4) \/ Viola (3) \/ Violoncello (3) \/ Bass (2).<\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\n[Lament of David]
    \nLamentation. \u2014 [without date]
    \nFor solo voice or unison chorus and keyboard.
    \nInk MS; 3 pages of music.
    \nText: Psalm 61: 1-5 (first line: O Lord, rebuke me not in Thine anger).
    \nAccompanied by:
    \n<\/em>[Magnificat, A major]
    \n[Title lacking] \u2014 [without date]
    \nFor solo voice or unison chorus and keyboard.
    \nSketch. Pencil MS; 5 pages of music.
    \nFirst line: My soul doth magnify the Lord.<\/td>\n<\/tr>\n
    folder 13<\/strong><\/td>\n[Lament of David]
    \nThe lament of David. \u2014 spring \u201915 [i.e. 1915].
    \nFor solo voice or unison chorus with keyboard.
    \nInk MS; 4 pages of music.
    \nText: Psalm 6: 1-5.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 37″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188596386{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Laude]
    \nChorale and Fanfare from Laude. \u2014 [without date]
    \nFor symphonic wind ensemble.
    \nFull score. Ink MS on Ozalid masters; 16 pages of music.
    \n\u201cFor Thomas Schippers and the Cincinnati Symphony Orchestra\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Laude]
    \n[New Land, New Covenant]
    \nManuscript book containing the following:
    \nChorale [and] Variations sketch; and, Sketch New Land, New Covenant. \u2014 [without date]
    \nSketches in pencil and ink.
    \nTitles in Hanson\u2019s hand on the cover.
    \nAccompanied by one leaf (pages 37 and 38) of MS repro from the full score of Laude (published as Laude:<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Laude]
    \nChorale and Fanfare from Laude. \u2014 [without date]
    \nFor symphonic wind ensemble.
    \nFull score. MS repro, sourced from the Ozalid masters housed in box 41\/3.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Lumen in Christo]
    \nLumen in Christo: with variations on themes by Haydn and Handel. \u2014 [without date]
    \nFor women\u2019s voices and orchestra.
    \nVocal score. Ink MS on Ozalid masters; 25 pages of music.
    \nThe orchestral accompaniment reduced for keyboard.
    \n\u201cTo Nazareth College on its 50th Anniversary\u201d\u2014in caption on first page.
    \nAccompanied by a set of extra pages (3, 7, 8, 10, 11, and 18) in the same physical format.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Lumen in Christo]
    \nLumen in Christo: with variations on themes by Haydn and Handel. \u2014 [without date]
    \nFor women\u2019s voices and orchestra.
    \nFull score. Ink MS on Ozalid masters; 57 pages of music.
    \n\u201cFor the 50th Anniversary of Nazareth College.\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Lumen in Christo]
    \nLumen in Christo: with variations on themes of light and darkness by Haydn and Handel. \u2014 [without date]
    \nFor women\u2019s voices and orchestra.
    \nChorus part. Ink MS on Ozalid masters; 11 pages of music.
    \n\u201cDedicated to the fiftieth anniversary of Nazareth College.\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Lumen in Christo]
    \nLumen in Christo: with variations on themes of light and darkness by Haydn and Handel. \u2014 [without date]
    \nFor women\u2019s voices and orchestra.
    \nParts. Ink MS on Ozalid masters; 16 parts.
    \nIn a copyist\u2019s hand.
    \nFlutes \/ Oboes \/ Clarinets \/ Bassoons \/ Horns \/ Trumpets \/ Trombones \/ Timpani \/ Percussion \/ Harp \/ Piano \/ Violin I \/ Violin 2 \/ Viola \/ Cello \/ Bass.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Lumen in Christo]
    \nManuscript book containing sketches in pencil and in ink. Hanson\u2019s rubric on the cover reads: Lumen in Christo – Sketches.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Lumen in Christo]
    \nLumen in Christo: with variations on themes by Haydn and Handel. \u2014 [without date]
    \nVocal score, bound. MS repro, sourced from the Ozalid masters housed in box 41\/4.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Lumen in Christo]
    \nLumen in Christo: with variations on themes of light and darkness by Haydn and Handel. \u2014 [without date]
    \nFor women\u2019s voices and orchestra.
    \nVocal score, bound. MS repro, sourced from the Ozalid masters housed in box 41\/4. Reduced in size, suggesting rehearsal pianist\u2019s copy.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Lux aeterna, opus 24]
    \nSeparated to box 64\/2.<\/em><\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\n[Lux aeterna, opus 24]
    \nLux Aeterna. \u2014 [without date]
    \nParts. Ink MS on Ozalid masters; 20 parts.
    \nIn a copyist\u2019s hand.
    \nPiccolo \/ Flutes I and II \/ Oboi I-II \/ Clarinetti in si-[flat] \/ Fagotti \/ Contrafagotto \/ Corno I in Fa \/ Corno II in Fa \/ Corni III-IV in Fa \/ Tromba 1mo \/ Trombe II-III \/ Tromboni I-II \/ Piccolo, Flauti \/ Tubular Chimes (Bells) \/ Piano \/ Celesta \/ Gran Cassa, Piatti, Gong \/ Timpani \/ Arpa I \/ Arpa II.<\/td>\n<\/tr>\n
    folder 13<\/strong><\/td>\n[Lux aeterna, opus 24]
    \nCaption title lacking. \u2014 [without date]
    \nBrass chorale parts in G major (trombones and tuba).
    \nMS repro; 1 page of music.<\/td>\n<\/tr>\n
    folder 14<\/strong><\/td>\n[Lux aeterna, opus 24]
    \nCaption title lacking. \u2014 [without date]
    \nChorale parts in full score. Ink MS on Ozalid master; 1 page of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 38″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188608866{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
    folder 1<\/strong><\/td>\n[Lux aeterna, opus 24]
    \nSeparated to box 64\/3.<\/em><\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Lux aeterna, opus 24]
    \nSeparated to box 64\/4.<\/em><\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Magnificat, A Major]
    \nCaption title lacking. \u2014 [without date]
    \nFor solo voice or unison chorus with keyboard.
    \nInk MS; 4 pages of music.
    \nIncomplete; the music lacks a definite conclusion.
    \nFirst line of text: My soul doth magnify the Lord.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Magnificat, A Major]
    \nMagnificat in A major \/ Howard Harold Hanson. \u2014 [without date]
    \nFor solo voice or unison chorus with keyboard.
    \nInk MS; 7 pages of music.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[March 13th]
    \nMarch 13th. \u2014 [without date]
    \nFor piano.
    \nPencil MS; 4 pages of music.
    \n\u201cFirst Public Performance. Fremont Theatre.\u201d\u2014in left margin on first page.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Merry Mount, opus 31]
    \nSong of the Puritans: from Merry Mount. \u2014 [without date]
    \nFor orchestra.
    \nFull score. Ink MS on Ozalid masters; 8 pages of music.
    \nN.B. Musical passage is that that accompanies the singing of \u201cThis is a house of gay carouse\u201d but the vocal parts are not represented on these pages.\u00a0\u00a0<\/span><\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Merry Mount, opus 31]
    \nSong of the Puritans. \u2014 [without date]
    \nParts. Ink MS on Ozalid masters; 31 parts.
    \nFlute I \/ Flute II \/ Piccolo and Flute III \/ Oboe I \/ Oboe II \/ English Horn \/ Clarinet I in B-flat \/ Clarinet II in B-flat \/ Bass Clarinet in B-flat \/ Bassoon I \/ Bassoon II \/ Contra-Bassoon \/ 1st Horn in F \/ 2nd Horn in F \/ 3rd Horn in F \/ 4th Horn in F \/ Trumpet I in C \/ Trumpet II in C \/ Trumpet III in C \/ Trombone I \/ Trombone II \/ Trombone III \/ Tuba \/ Tympani \/ Cymbal \/ Harp \/ Violin I \/ Violin II \/ Viola \/ \u2018Cello \/ Basses.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Merry Mount, opus 31]
    \nA gathering of excerpts and fragments from acts I, II, and III, of which the most substantial is the following:
    \nMERRY MOUNT Act II, Scene iii.
    \nVocal score. Ink MS on Ozalid masters; 4 pages of music.
    \nChorus part. Ink MS on Ozalid masters; 2 pages of music.
    \nParts. Ink MS on Ozalid masters; 29 parts.
    \nFlute I \/ Flute II \/ Flute III \/ Oboe I \/ Oboe II \/ English Horn \/ Clarinet I in B-flat \/ Clarinet II in B-flat \/ Bass Clarinet \/ Bassoon I \/ Bassoon II \/ Contra Bassoon \/ Horns I and III in F \/ Horn II in F \/ Horn IV in F \/ Trumpet I in C \/ Trumpet II in C \/ Trumpet III in C \/ Trombone I \/ Trombone II \/ Trombone III \/ Tuba \/ Harps I and II \/ Percussion \/ Violin I \/ Violin II \/ Violas \/ Violoncello \/ Bass.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Merry Mount, opus 31]
    \nMarigold\u2019s aria. \u2014 [without date]
    \nFull score. Ink MS on Ozalid masters; 12 pages of music.
    \nIn a copyist\u2019s hand.
    \nFirst line of text: No witch am I.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Merry Mount, opus 31]
    \nMarigold\u2019s aria. \u2014 [without date]
    \nParts. Ink MS on Ozalid masters; 30 parts.
    \nFlute I \/ Flute II \/ Flute III \/ Oboe I \/ Oboe II \/ Clarinet I in B-flat \/ Clarinet II in B-flat \/ Bass Clarinet in B-flat \/ English Horn \/ Bassoon I \/ Bassoon II \/ Horn I in F \/ Horn II in F \/ Horn III in F \/ Horn IV in F \/ Trumpet I \/ Trumpet II \/ Trumpet III \/ Trombone I \/ Trombone II \/ Trombone III \/ Tuba \/ Timpani \/ Cymbal and Celesta \/ Harp \/ Violin I \/ Violin II \/ Viola \/ \u2018Cello \/ Bass.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Merry Mount, opus 31]
    \nChorus parts from acts I, II, and III. \u2014 [without date]
    \nInk MS on Ozalid masters.<\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\n[Merry Mount, opus 31]
    \nSeparated to box 64\/5.<\/em><\/td>\n<\/tr>\n
    folder 13<\/strong><\/td>\n[Merry Mount, opus 31]
    \nSeparated to box 64\/6.<\/em><\/td>\n<\/tr>\n
    folder 14<\/strong><\/td>\n[Merry Mount, opus 31]
    \nSong of the Puritans.
    \nFull score. MS repro; 8 pages of music. Sourced from the Ozalid masters housed in box 42\/6.<\/td>\n<\/tr>\n
    folder 15<\/strong><\/td>\n[Merry Mount, opus 31]
    \nSong of the Puritans. \u2014 [without date]
    \nParts. MS repro, sourced from the Ozalid masters housed in box 42\/7.<\/td>\n<\/tr>\n
    folder 16<\/strong><\/td>\n[Merry Mount, opus 31]
    \nMS repro manifestations of two segments:
    \nAn instrumental excerpt from the Maypole Dance sequence (act I) in vocal score; and, the chorus parts in act III, scene I (\u201cGird you with sackcloth\u201d).<\/td>\n<\/tr>\n
    folder 17<\/strong><\/td>\n[Merry Mount, opus 31]
    \nMarigold\u2019s aria. \u2014 [without date]
    \nFull score, bound. MS repro, sourced from the Ozalid masters housed in box 42\/9.
    \nIn a copyist\u2019s hand.<\/td>\n<\/tr>\n
    folder 18<\/strong><\/td>\n[Merry Mount Suite]
    \nSeparated to box 64\/7.<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 39″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188620840{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
    folder 1<\/strong><\/td>\n[Mosaics]
    \nSeparated to box 64\/8.<\/em><\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Mosaics]
    \nSketches in ink and in pencil.
    \nPiano score, incomplete. Ink MS on Ozalid masters; 15 pages of music.
    \nMusic ends inconclusively; the staves on page 15 contain content added in pencil.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[My Madonna]
    \nMy Madonna \/ words by Robert W. Service; music by Howard Harold Hanson. \u2014 [without date]
    \nFor tenor with piano. Ink MS; 4 pages of music.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Mystic Trumpeter]
    \nThe mystic trumpeter. \u2014 [without date]
    \nFor narrator, chorus, and orchestra.
    \nFull score. Ink MS on Ozalid masters; 92 pages of music.
    \nText by Walt Whitman.
    \n\u201cDedicated to Dean Archie Jones and the School of Music of the University of Missouri in Kansas City.\u201d\u2014at foot of first page.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Mystic trumpeter]
    \nThe mystic trumpeter. \u2014 Oct. 28, 1969.
    \nVocal score. Ink MS on Ozalid masters; 34 pages of music.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Mystic Trumpeter]
    \nThe mystic trumpeter. \u2014 Oct. 28, 1969.
    \nVocal score, bound. MS repro, sourced from the Ozalid masters housed in box 43\/5.
    \nThe orchestral voices arranged for piano accompaniment.
    \nTwo copies.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[New Land, New Covenant]
    \nNew land, new covenant. \u2014 [without date]
    \nVocal score. Ink MS on Ozalid masters; 64 pages of music.
    \nLibretto by Howard C. Kee.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[New Land, New Covenant]
    \nNew land, new covenant. \u2014 April 11, 1976
    \nFor narrator, chorus, children\u2019s chorus, and orchestra.
    \nFull score. MS repro; 129 pages of music.
    \n\u201cTo my dear Peggie.\u201d\u2014in caption on first page.
    \nRehearsal numbers added in blue pencil.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[New Land, New Covenant]
    \nNew land, new covenant. \u2014 [without date]
    \nVocal score, bound. MS repro, sourced from the Ozalid masters housed in box 43\/7.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 40″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188631064{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
    folder 1<\/strong><\/td>\n[New Land, New Covenant]
    \nNew land, new covenant. \u2014 [without date]
    \nVocal score, bound. MS repro, sourced from the Ozalid masters housed in box 43\/7.
    \nDivided into four bound sections: rehearsal nos. 1-40 (pages 1-33); rehearsal nos. 41-52 (pages 34-41); rehearsal nos. 53-70 (pages 42-55); and rehearsal nos. 71-80 (pages 56-64).<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Night and Dawn]
    \nNight and dawn: orchestral suite \/ Howard H. Hanson \u2014 [without date]
    \nFull score. Ink MS; 23 pages of music, unnumbered.
    \nI. Night \u2014 II. Dawn.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Night and Dawn]
    \nNight and dawn: orchestral suite. \u2014 [without date]
    \nParts. Ink MS; 26 parts.
    \nFlutes \u2014 Oboi \u2014 Clarinets in B-flat \u2014 Bassoons \u20141st and 2nd Horns in F \u2014 3rd and 4th Horns in F \u2014 Trumpets in C \u2014 Alto & Tenor Trombones \u2014 Trombono Basso \u2014 Tympani in A & E \u2014 Piano \u2014 Violin I (5) \u2014 Violin II (5) \u2014 Violas (2) \u2014 Violoncelli (2) \u2014 Double Bass.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[1913 Spring]
    \n1913 spring. \u2014 [without date]
    \nFor solo voice or unison chorus and piano.
    \nInk MS; 3 pages of music.
    \nNeither composer nor text author attributed on manuscript.
    \nFirst line of text: Shall we roam, m love, to the twilight grove.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[North and West, opus 22]
    \nSeparated to box 65\/1.<\/em><\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[North and West, opus 22]
    \nNorth and west, opus 22: symbolic poem. \u2014 [without date]
    \nFor wordless SATB chorus and orchestra.
    \nParts. Ink MS on Ozalid masters; 30 parts.
    \nIn a copyist\u2019s hand.
    \nVoices \/ Piccolo \/ Flutes I and II \/ Oboes I and II \/ Clarinets I and II in B-flat \/ Bassoons I and II \/ Double Bassoon \/ Horn I in F \/ Horn II in F \/ Horn III in F \/ Horn IV in F \/ Trumpet I in B-flat \/ Trumpet II in B-flat \/ Trumpet III in B-flat \/ Trombone I \/ Trombone II \/ Trombone III \/ Tuba \/ Kettledrums in A-flat, B-flat, E-flat \/ Snare Drum \/ Cymbals \/ Bass Drum \/ Celesta \/ Harp I \/ Harp II \/ Violins I \/ Violins II \/ Violas \/ \u2018Cellos \/ Basses.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[North and West, opus 22]
    \nCaption title lacking. \u2014 June 27, 1923
    \nShort score. Ink MS; 13 pages of music, unnumbered.
    \n\u201cThis arrangement completed Rome, June 27, \u201923.\u201d\u2014at end of MS.
    \nTitle added in pencil in an unknown hand before the first page of music.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[North and West, opus 22]
    \nSeparated to box 60\/2 (oversized).<\/em><\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[North and West, opus 22]
    \nSeparated to box 60\/3 (oversized).<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 41″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188642888{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Nymph and Satyr]
    \nIndividual movements present:
    \n<\/em>\u20a1
    \nPrelude. \u2014 [without date]
    \nFor piano.
    \nInk MS on Ozalid masters; 2 pages of music.
    \n\u20a1
    \nFantasy for solo clarinet and chamber orchestra. \u2014 [without date]
    \nFor clarinet with piano accompaniment.
    \nInk MS on Ozalid masters; 6 pages of music.
    \n\u20a1
    \nFor Mollie: scherzo for bassoon and orch[estra]. \u2014 April 6, 1978
    \nFor bassoon and piano accompaniment.
    \nInk MS on Ozalid masters; 5 pages of music.
    \n\u20a1
    \nEpilogue. \u2014 [without date]
    \nFor piano.
    \nInk MS on Ozalid masters; 2 pages of music.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Nymph and Satyr]
    \nTwo manuscript books, each containing sketch material in ink and in pencil.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Nymph and Satyr]
    \nFantasy for solo clarinet and chamber orchestra. \u2014 April 5, 1978
    \nFull score. MS repro; 22 pages of music.
    \n\u201cFirst version\u201d\u2014rubric on front cover.
    \nThree copies, each bound.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Nymph and Satyr]
    \nFantasy: arranged for clarinet and piano. \u2014 [without date]
    \nMS repro; 5 pages of music, unnumbered.
    \nTwo copies, each bound.
    \nCaption title lacking; the given title from Hanson\u2019s title on front covers.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Pan and the Priest, opus 26]
    \nPan and the priest. \u2014 [without date]
    \nFor piano, flute, oboe, clarinet, bassoon, tenor horns, trumpet, trombone and percussion.
    \nFull score. Ink MS on Ozalid masters; 33 pages of music.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Pan and the Priest, opus 26]
    \nPan and the priest: symphonic poem. \u2014 [without date]
    \nParts. Ink MS; 5 parts (incomplete).
    \nIn copyists\u2019 hands.
    \nParts present: Horn I in F \/ 1st Violin \/ Viola \/ \u2018Cello \/ Basso.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Pan and the Priest, opus 26]
    \nPan and the priest. \u2014 [without date]
    \nParts. Ink MS on Ozalid masters; 8 parts.
    \nIn a copyist\u2019s hand.
    \nHorns 1 and 2 in F \/ Trumpet in B-flat \/ Trombone \/ Flute \/ Oboe \/ Clarinet in B-flat \/ Bassoon \/ Percussion.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 42″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188653403{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Pan and the Priest, opus 26]
    \nPan and the priest. \u2014 [without date]
    \nFull score. MS repro, sourced from the Ozalid masters (box 45\/5).
    \nTwo copies, each bound.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Pan and the Priest, opus 26]
    \nPan and the priest: symphonic poem. \u2014 [without date]
    \nTranscribed for two pianos.
    \nMS repro; 19 pages of music.
    \nNegative photostatic reproduction.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Pan and the Priest, opus 26]
    \nPan and the priest: symphonic poem. \u2014 [without date]
    \nTranscribed for two pianos.
    \nMS repro; 19 pages of music.
    \nPositive photostatic reproduction.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Pastorale, opus 38]
    \nPastorale. \u2014 November 28, 1949
    \nFor solo oboe, strings and harp.
    \nScore. Ink MS on Ozalid masters; 28 pages of music.
    \n\u201cWritten for the Chopin Centennial program of the United Nations Educational Scientific and Cultural Organization. Paris, Franc, Oct. 3, 1949.\u201d\u2014At foot of first page.
    \n\u201cTo Peggie\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Pastorale, opus 38]
    \nPastorale for oboe and piano. \u2014 [without date]
    \nScore. Ink MS on Ozalid masters; 9 pages of music.
    \nIn a copyist\u2019s hand.
    \n\u201cWritten for Chopin Centennial UNESCO Paris 1949\u201d\u2014 in caption on first page.
    \n\u201cTo Peggie\u201d\u2014dedication in caption on first page.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Pastorale, opus 38]
    \nPastorale. \u2014 [without date]
    \nParts. Ink MS on Ozalid copies; 7 parts.
    \nIn a copyist\u2019s hand.
    \nSolo oboe \/ Harp \/ Violin I \/ Violin II \/ Viola \/ Violoncello \/ Bass.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Pastorale, opus 38]
    \nPastorale for oboe and piano. \u2014 without date
    \nScore. MS repro, sourced from Ozalid masters (box 46\/6).
    \nIn a copyist\u2019s hand.
    \nTwo copies.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Pastorale, opus 38]
    \nPastorale: for solo oboe, strings and harp. \u2014 Nov. 28, 1949
    \nFull score. MS repro, sourced from Ozalid copies (box 46\/4).
    \nBears performance markings in pencil.
    \nProvenance: Carl Fischer Rental Library.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Prayer of the Middle Ages]
    \nA prayer of the Middle Ages. \u2014 [without date]
    \nFor chorus a cappella.
    \nScore. Ink MS on Ozalid masters; 7 pages of music.
    \nPoem from the 8th century; English version by James Francis Cooke.
    \n\u201cWritten for the 150th anniversary of Furman University\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Prayer for the Middle Ages]
    \n[Laude]
    \nManuscript book containing sketch material in pencil and in ink.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 43″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188665183{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Prelude and Double Concert Fugue, opus 1]
    \nPrelude and concert fugue in E minor, Op. I \/ Howard Harold Hanson. \u2014 [without date]
    \nFor two pianos.
    \nInk MS; 31 pages of music.
    \nTitle from front cover of manuscript book. Caption title: Praeludium.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Prelude to Song of Hiawatha<\/em> ]
    \nPrelude to Song of Hiawatha \/ music by Howard Harold Hanson. \u2014 [without date]
    \nFor mezzo soprano or baritone with piano.
    \nInk MS; 4 pages of music.
    \nText by Longfellow.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Psalm 121]
    \nThe one hundred twenty-first Psalm. \u2014 [without date]
    \nFor soloist, chorus, and orchestra.
    \nFull score. Ink MS on Ozalid masters; 30 pages of music.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Psalm 121]
    \nThe one hundred twenty-first Psalm. \u2014 October, 1967
    \nFor solo baritone or contralto, chorus, and piano.
    \nVocal score. Ink MS on Ozalid masters; 8 pages of music.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Psalm 121]
    \nThe one hundred twenty-first Psalm. \u2014 [without date]
    \nFor solo voice, chorus, and orchestra.
    \nFull score, bound. MS repro, sourced from Ozalid masters (box 47\/9).
    \n\u201cTo Robert Hargreaves and Ball State University.\u201d\u2014in caption on first page.
    \nBears Hanson\u2019s conducting markings in red pencil.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Psalm 150]
    \nThe one hundred fiftieth Psalm. \u2014 [without date]
    \nFor men\u2019s chorus and orchestra.
    \nFull score. Ink MS on Ozalid masters; 20 pages of music.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Psalm 150]
    \nThe one hundred fiftieth Psalm. \u2014 [without date]
    \nFor men\u2019s chorus and keyboard accompaniment.
    \nInk MS on Ozalid masters; 8 pages of music.
    \n\u201cTo Ward Woodbury and the University of Rochester Glee Club.\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Psalm 150]
    \nThe one hundred fiftieth Psalm. \u2014 [without date]
    \nFor mixed chorus and piano.
    \nInk MS on Ozalid masters; 12 pages of music.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Psalm 150]
    \nThe one hundred fiftieth Psalm. \u2014 [without date]
    \nFor chorus and orchestra.
    \nFull score, bound. MS repro, sourced from the Ozalid masters (box 43\/6).<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Psalm 150]
    \nThe one hundred fiftieth Psalm. \u2014 [without date]
    \nFor men\u2019s chorus and keyboard accompaniment.
    \nVocal score. MS repro, sourced from Ozalid masters (box 43\/7).
    \nTwo copies, each bound.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Psalm 150]
    \nThe one hundred fiftieth Psalm. \u2014 [without date]
    \nFor mixed chorus and piano.
    \nVocal score, bound. MS repro, sourced from Ozalid masters (box 43\/8).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 44″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188676101{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Quartet, opus 23]
    \nQuartet, opus 23 (in one movement). \u2014 [without date]
    \nFour parts, bound. Publisher\u2019s proof copies in MS repro.
    \nAddenda and corrigenda in black ink.
    \n\u201cCopyright 1927 by C. C. Birchard & Company. International Copyright Secured. Made in the United States of America.\u201d\u2014at foot of first page of music on each part in red pencil.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Quintet in F Minor, opus 5]
    \nQuintette [sic] in F minor. \u2014 [without date]
    \nFor piano and strings.
    \nScore. Pencil sketch; 19 pages of music.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Scandinavian Mazurka]
    \nScandinavian mazurka. \u2014 [without date]
    \nFor violin and piano.
    \nInk MS; score (4 pages of music and part (1 page of music).<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Scandinavian Sonata]
    \nScandinavian Sonata in D minor \/ Howard H. Hanson. \u2014 [without date]
    \nFor piano.
    \nInk MS; 21 pages of music.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Scandinavian Suite, opus 13. No. 3, Clog Dance]
    \nClog dance, opus 13, no. 3: from Scandinavian Suite \/ Howard H. Hanson. \u2014 [without date]
    \nFor piano.
    \nInk MS; 2 pages of music.
    \n\u201cTo my friend, Percy Grainger\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Scandinavian Symphony]
    \nScandinavian Symphony in D minor. \u2014 1913
    \nFor orchestra.
    \nFull score. Ink MS. The movements paginated separately: 31 pages; and, 23 pages.
    \n1. Allegro molto \u2014 II. Andante.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Scandinavian Symphony]
    \n[Prelude and Double Fugue, opus 1]
    \n[Three songs from Walt Whitman]
    \nManuscript book containing the following:<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Sch\u00e4fer\u2019s Sonntagslied, opus 4]
    \nSch\u00e4fer\u2019s Sonntagslied \/ by Howard Harold Hanson. \u2014 [without date]
    \nFor high voice with piano.
    \nInk MS on Ozalid masters; 3 pages of music.
    \nText by Uhland.
    \nFirst line of text: Das ist der Tag des Herrn!<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Sch\u00e4fer\u2019s Sonntagslied, opus 4]
    \nReproductions from the Ozalid masters (box 48\/10). Three copies.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Serenade for Flute, Harp, and Strings, opus 35]
    \nSerenade. \u2014 [without date]
    \nFor solo flute, harp and strings; arranged for flute and piano.
    \nInk MS on Ozalid masters; 10 pages of music.
    \n\u201cTo Peggie\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\nSerenade for Flute, Harp, and Strings, opus 35
    \nSeparated to box 65\/4.<\/em><\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\n[Serenade for Flute, Harp, and Strings, opus 35]
    \nSerenade. \u2014 Dec. 21, 1945
    \nFor solo flute, harp and strings.
    \nFull score. MS repro; 27 pages of music.
    \nInscribed, presumably by Mr. Leon Barzin; previous performance cited.<\/td>\n<\/tr>\n
    folder 13<\/strong><\/td>\n[Serenade for Flute, Harp, and Strings, opus 35]
    \nSerenade. \u2014 [without date]
    \nFor solo flute, harp and strings; arranged for flute and piano.
    \nMS repro, sourced from the Ozalid masters (box 48\/10).
    \n\u201cTo Peggie\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
    folder 14<\/strong><\/td>\n[Slumber Song]
    \nSlumber song \/ Howard H. Hanson. \u2014 [without date]
    \nFor piano.
    \nInk MS; 3 pages of music.<\/td>\n<\/tr>\n
    folder 15<\/strong><\/td>\n[A Song of Autumn]
    \nA song of autumn \/ music by Howard Harold Hanson; poem by Marion Brooks Frothingham. \u2014 fall 1914
    \nFor soprano and piano.
    \nInk MS; 2 pages of music.
    \nAccompanied by a second MS, scored in the same key and likewise 2 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 45″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188686742{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
    folder 1<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nSeparated to box 65\/5.<\/em><\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nSong of democracy. \u2014 [without date]
    \nVocal score. Ink MS on Ozalid masters; 24 pages of music.
    \nText by Walt Whitman.
    \n\u201cTo the Music Educators of American for the 100th Anniversary of the National Education Association and the 50th Anniversary of the Music Educators National Conference\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nSail — sail thy best, ship of Democracy: from Song of Democracy. \u2014 [without date]
    \nVocal score. Ink MS on Ozalid masters; 4 pages of music.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nExcerpt from the Song of Democracy. \u2014 [without date]
    \nFull score. Ink MS on Ozalid masters; 4 pages of music.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nExcerpt from the Song of Democracy. \u2014 [without date]
    \nParts. Ink MS; 4 parts.
    \nViolin I \/ Violin II \/ Viola II \/ \u2018Cello II.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nSeparated to box 65\/6.<\/em><\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nIncomplete piano vocal score. Ink MS on Ozalid masters; 7 pages of music (numbered p. 11, 13, 18, 18, 20, 21, 1 unnumbered).<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nSeparated to box 65\/7.<\/em><\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Song of Democracy, opus 44]
    \n[title statement]
    \nVocal score, bound. MS repro, sourced from the Ozalid masters (box 49\/2).<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nExcerpt from the Song of Democracy. \u2014 [without date]
    \nFull score. MS repro, sourced from the Ozalid masters (box 49\/4).
    \nTwo copies, each bound.
    \n\u201cfor Educational Television\u201d\u2014rubric in Hanson\u2019s hand on cover of one copy.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nSeparated to box 65\/8.<\/em><\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\n[Song of Human Rights, opus 49]
    \nSong of human rights. \u2014 June, 1963; completed Aug. 19, 1963
    \nFor chorus of mixed voices with orchestra.
    \nFull score. Ink MS on Ozalid masters; 39 pages of music.
    \n\u201cCommissioned by the United States National Commission for UNESCO to commemorate the fifteenth anniversary of the Universal Declaration of Human Rights.\u201d\u2014in caption on first page.
    \nAccompanied by Hanson\u2019s program note (1 page).<\/td>\n<\/tr>\n
    folder 13<\/strong><\/td>\n[Song of Human Rights, opus 49]
    \nA setting of excerpts from the Preamble to the Universal Declaration of Human Rights. \u2014 June, 1963; completed Aug. 19, 1963.
    \nFull score. MS repro, sourced from the Ozalid masters (box 49\/12); only the caption title differs.<\/td>\n<\/tr>\n
    folder 14<\/strong><\/td>\n[Songs for High Voice]
    \nSongs for high voice. \u2014 1922
    \nA bound volume containing the original works cited below. Title Songs for high voice <\/em>embossed on front cover.
    \n\u201cThese Songs include all written between the years 1916-1919 and are the only songs between Opus numbers 1 and 20. Some slight changes have been made in this collection of them.\u201d\u2014on title page.
    \n\u201cEdited and re-written Rome, American Academy, 1922.\u201d\u2014on title page.
    \nContents:
    \n\u20a1
    \nThree songs for high voice, opus 2.
    \nInk MS; 6 pages of music.
    \n\u201cWritten at Northwestern University, 1915-16 (begun \u201con tour summer 1915).\u201d\u2014on title page.
    \nTo music (Percy Bysshe Shelley) \u2014 Remembering (Ruth Guthrie Harding) \u2014 Dawn (Anon.)
    \n\u20a1
    \nThree songs from Walt Whitman\u2019s \u201cNow Finale to the Shore\u201d.
    \nInk MS; 6 pages of music.
    \n\u201cSummer 1915. Scored for orch. Accompaniment.\u201d\u2014on title page.
    \nThe untold want \u2014 Portals \u2014 Joy! Shipmate — Joy!.
    \n\u20a1
    \nSch\u00e4fer\u2019s Sonntagslied, op. 4 (To Herman G. Aschbaucher).
    \nInk MS; 4 pages of music.
    \nText by Uhland.
    \n\u201c1915-\u201916 — Northwestern University.\u201d\u2014at foot of first page.
    \n\u20a1
    \nTwo songs from the \u201cRubaiyat\u201d of Omar Khayam, opus 6, nos. 2 & 3.
    \nInk MS; 6 pages of music.
    \n\u201cWahoo, Nebraska Summer 1916\u201d\u2014on title page.
    \nThe worldly hope \u2014 Wake.
    \n\u20a1
    \nExaltation, opus 10.
    \nInk MS; 2 pages of music.
    \nText anonymous.
    \nTo Flossita Badger.\u2014dedication on title page.
    \n\u201cCollege of the Pacific, Fall 1917.\u201d\u2014at foot of first page of music.
    \n\u20a1
    \nThree Swedish folksongs; arr. as opus 15.
    \nInk MS; 6 pages of music.
    \nIn a copyist\u2019s hand.
    \n\u201cArr. for tenor voice fall 1919. Rearranged and rewritten for May Peterson, spring 1922, Roma.\u201d\u2014on title page.
    \nKristallen den Fina \u2014 Gl\u00e4djens Blomster \u2014 Domaredansen.<\/td>\n<\/tr>\n
    folder 15<\/strong><\/td>\n[Songs from Drum Taps, opus 32]
    \nBeat! Beat! Drums! \u2014 [without date]
    \nFor SATB chorus and orchestra.
    \nFull score. Ink MS; 41 pages of music.
    \nText by Walt Whitman.
    \nTitle added to cover and to first page caption in another hand. Rubric \u201cOriginal MS\u201d added to cover in Hanson\u2019s hand.
    \nAddenda and corrigenda added throughout by Hanson in red pencil.<\/td>\n<\/tr>\n
    folder 16<\/strong><\/td>\n[Songs from Drum Taps, opus 32]
    \n[Songs from Drum Taps] \u2014 Dec. 23rd, 1934.
    \nFor baritone solo, chorus, and orchestra.
    \nVocal score. MS repro; 50 pages of music.
    \nThe title Songs from Drum Taps <\/em>does not appear on this manifestation; instead, the titles of the individual movements appear in the captions of the respective first pages of music.
    \n1. Beat! Beat! Drums! (chorus). \u2014 2. By the bivouac\u2019s fitful flame (baritone solo). \u2014 3. To thee, old cause (chorus).<\/td>\n<\/tr>\n
    folder 17<\/strong><\/td>\n[Songs from Drum Taps, opus 32]
    \nBeat! Beat! Drums! \u2014 [without date]
    \nFor high voice with piano.
    \nInk MS; 17 pages of music.
    \nIn a copyist\u2019s hand.
    \n\u201cTo Sophie Braslau\u201d\u2014at head of first page.<\/td>\n<\/tr>\n
    folder 18<\/strong><\/td>\n[Songs from Drum Taps, opus 32]
    \nBy the bivouac\u2019s fitful flame. \u2014 [without date]
    \nOne single page of music from the MS repro vocal score, comprising the beginning of the movement.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 46″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188699099{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Songs from Drum Taps, opus 32]
    \nDrum Taps. \u2014 May 19, 1950
    \nFull score. MS repro; 54 pages of music.
    \n\u201cCopyright 1935, by J. Fischer & Bro. British Copyright Secured. Mechanical and all other including performance rights reserved.\u201d\u2014Pasted at foot of first page of music.
    \nWith performance annotations throughout in pencil and in red pencil.
    \nAccompanied by a sequence headed by rubric \u201cFollows D.T.\u201d and scored in full score.
    \nMS repro; six pages of music, numbered D1-D6. These pages tipped in at the end of the score.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Songs from Drum Taps, opus 32]
    \n[Songs from Drum Taps] \u2014 Dec. 23rd, 1934.
    \nVocal score. MS repro; negative photostatic reproduction of Hanson\u2019s autograph MS (same rendering as appears in box 45\/16).
    \nThe title Songs from Drum Taps <\/em>does not appear on this manifestation; instead, only the titles of the individual movements appear, in the captions of the first pages of the respective movements.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Songs from Drum Taps, opus 32]
    \nBeat! Beat! Drums!
    \nNegative photostatic reproduction of the copyist\u2019s vocal score (box 49\/17).<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Streams in the Desert]
    \nStreams in the desert. \u2014 [without date]
    \nFor chorus and orchestra.
    \nFull score. Ink MS on Ozalid masters; 51 pages of music.
    \nText from Isaiah 35.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Streams in the Desert]
    \nStreams in the desert. \u2014 [without date]
    \n? Piano part. Ink MS on Ozalid masters; 3 pages of music.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Streams in the Desert]
    \nStreams in the desert. \u2014 [without date]
    \nVocal score. Ink MS on Ozalid masters; 22 pages of music.
    \n\u201cCommissioned for Focus on the Arts of International Center for Arid and Semi-Arid Lands Studies. Texas Technological College, Lubbock, Texas.\u201d\u2014at foot of first page.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Streams in the Desert]
    \nManuscript book containing pencil sketches. Accompanied by six pages of pencil MS on Ozalid masters, numbered 7-10, 13, 14.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Streams in the Desert]
    \nStreams in the desert. \u2014 [without date]
    \nVocal score. MS repro, sourced from the Ozalid masters (box 50\/6).
    \nTwo copies, each bound. Neither copy bears added markings.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Summer Seascape No. 2]
    \nSummer seascape no. 2. \u2014 [without date]
    \nParts. Ink MS on Ozalid masters; 6 parts.
    \nIn a copyist\u2019s hand.
    \nSolo viola \/ Violin I \/ Violin II \/ Viola \/ Cello \/ Bass.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Summer Seascape No. 2]
    \nSummer seascape no. 2. \u2014 [without date]
    \nFull score. MS repro; 25 pages of music<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 47″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188710465{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Swedish Fantasie]
    \nfantasie (Svenska fantasia) \/ Howard H. Hanson. \u2014 [without date]
    \nFor piano.
    \nPencil MS; 4 pages of music.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Swedish Fantasie]
    \nSwedish fantasie \/ Howard H. Hanson. \u2014 [without date]
    \nFor piano.
    \nPencil MS; 4 pages of music.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Symphonic Prelude, opus 6]
    \nSymphonic prelude in C minor, opus 6 \/ Howard Harold Hanson. \u2014 [without date]
    \nFor orchestra.
    \nFull score (incomplete). Ink MS; 8 pages of music, ending inconclusively.
    \n\u201cWritten 1915-16. Rehearsal performance by Northwestern Orchestra under Harold Knapp.\u201d\u2014at foot of first page.
    \nWith annotations in pencil.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Symphonic Prelude, opus 6]
    \n[Title lacking] \u2014 [without date]
    \nPencil sketch; 33 pages of music.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Symphonic Rhapsody, opus 14]
    \nSymphonic rhapsody. \u2014 [without date]
    \nPencil sketch; 42 pages of music. Enclosed within a concert playbill for a concert by pianist-composer Percy Grainger at the College of the Pacific.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Symphonic Rhapsody, opus 14]
    \nSymphonic rhapsody. \u2014 [without date]
    \nFor orchestra.
    \nFull score. MS repro; 20 pages of music.
    \nNegative photostatic reproduction.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Symphonic Rhapsody, opus 14]
    \nSymphonic rhapsody \/ Harold H. Hanson.
    \nParts. MS repro; 5 parts.
    \nNegative photostatic reproductions.
    \nParts present: Violin I \/ Violin II \/ Viola \/ Cello \/ D. Bass.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Symphonic Rhapsody, opus 14]
    \nSymphonic rhapsody, opus 14 \/ Howard Harold Hanson. \u2014 [without date]
    \nArranged for pianoforte [sic].
    \nInk MS, bound; 7 pages of music.
    \n\u201cSo is everyone that is born of the Spirit.\u201d\u2014at end of manuscript.
    \nAccompanied by a looseleaf negative photostatic reproduction.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Symphony No. 1, opus 21 \u201cNordic\u201d]
    \nSeparated to box 61\/1.<\/em><\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Symphony No. 1, opus 21 \u201cNordic\u201d]
    \n2nd movement from the \u201cNordic\u201d Symphony.
    \nTranscribed for organ.
    \nInk MS; 13 pages of music.
    \n\u201cTranscribed especially for Mr. Eastman\u2019s program, Dec. 11th, 1927\u201d\u2014at end of MS.
    \nWith registrations in pencil throughout.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Symphony No. 1, opus 21 \u201cNordic\u201d]
    \nSeparated to box 61\/2.<\/em><\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\n[Symphony No. 1, opus 21 \u201cNordic\u201d]
    \nSeparated to box 61\/3.<\/em><\/td>\n<\/tr>\n
    folder 14<\/strong><\/td>\n[Symphony No. 1, opus 21 \u201cNordic\u201d]
    \nSymphony No. I, \u201cNordic\u201d, in E minor, opus 21. \u2014 May 1922
    \nFull score. MS repro; 132 pages of music.
    \nMovements I and II in a copyist\u2019s hand; movement III and Finale in the composer\u2019s hand.
    \nWith addenda and corrigenda in pencil, in blue pencil, and in red pencil throughout.
    \nAt end of MS: \u201cAcademia Americana Roma, May 1922\u201d appeared originally but was corrected in Hanson\u2019s hand to read \u201cAmerican Academy, Rome, May 1922\u201d which corresponds to what appears in the edition published by the American Academy in Rome.<\/td>\n<\/tr>\n
    folder 13<\/strong><\/td>\n[Symphony No. 1, opus 21 \u201cNordic\u201d]
    \n[title statement]
    \nCello part. MS repro; 18 pages of music.
    \nIn copyists\u2019 hands.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 48″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188721096{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Symphony No. 2, opus 30 \u201cRomantic\u201d]
    \nPencil sketches in a music writing book; accompanied by ink sketches on two bifolia of Carl Fischer no. 22 (24 lines) paper.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Symphony No. 2, opus 30 \u201cRomantic\u201d]
    \nNotation of 14 motivic Figures: their presentation suggests use in a talk.
    \nInk MS on Ozalid masters; 3 pages of content.
    \nAccompanied by a printed copy of same.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Symphony No. 2, opus 30 \u201cRomantic\u201d]
    \nSymphony No. II \u201cRomantic\u201d. \u2014 begun April 1928; finished July 8, 1930.
    \nFull score, bound. MS repro; 120 pages of music.
    \nSourced from the MS bearing shelf number ML96 .H251S.2 in the SML vault.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Symphony No. 2, opus 30 \u201cRomantic\u201d ]
    \nSymphony No. II, Romantic. Lento \u2014 [without date]
    \nThe central portion of the Lento movement (rehearsal cues F through H) arranged for two pianos.
    \nMS repro; 4 pages of music (both parts together).
    \nIn a copyist\u2019s hand.
    \nAccompanied by a negative photostatic reproduction of same.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Symphony No. 3, opus 33]
    \nSymphony no. III. \u2014 [without date]
    \nFull score. Ink MS on Ozalid masters; 171 pages of music.
    \nThe impression rendered by means of stencilling.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Symphony No. 3, opus 33]
    \n2nd movement [from] Symphony no. III. \u2014 [without date]
    \nParts. MS repro; 27 parts, all bearing the imprint of C. C. Birchard & Company, Boston.
    \nPiccolo \/ Flute I \/ Flute II \/ Oboe I \/ Oboe II \/ English horn \/ Clarinet I in B-flat \/ Clarinet II in B-flat \/ Bass clarinet and Clarinet III in B-flat \/ Bassoon I \/ Bassoon II \/ Contra bassoon \/ Horn I in F \/ Horn II in F \/ Horn III in F \/ Trumpet I \/ Trumpet II \/ Trombone I \/ Trombone II \/ Trombone III \/ Tuba \/ Tympani \/ Violin I \/ Violin II \/ Viola \/ Cello \/ Double bass.
    \n+ Accompanied by Ozalid masters for the Violin I, Violin II, Viola, Cello, and Bass parts.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Symphony No. 3, opus 33]
    \nSeparated to box 61\/4.<\/em><\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Symphony No. 3, opus 33]
    \nSeparated to box 61\/5<\/em>.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 49″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188731097{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Symphony No. 3, opus 33]
    \nFull score in negative photostatic reproduction. Movements I, II, and III reduced in from the original.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Symphony No. 3, opus 33]
    \nFull score in positive photostatic reproduction. Movements I, II, and III reduced in size from the original.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Symphony No. 3, opus 33]
    \nTimpani part, incomplete. MS repro; 2 pages of music, ending inconclusively after rehearsal no. 13.
    \nTen copies of same.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Symphony No. 3, opus 33]
    \nChoral finale: last movement [from] Symphony no. III. \u2014 Sept. 28, 1957
    \nChoral parts. MS repro; 4 pages of music.
    \nTwo copies<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 50″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188747446{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Symphony No. 3, opus 33]
    \nSymphony no. III. Arrangement for symphonic band. \u2014 [without date]
    \nFull score. MS repro in a negative photostatic reproduction; 128 pages of music.
    \nIn a copyist\u2019s hand.
    \nTwo copies, each bound.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Symphony No. 3, opus 33]
    \nMotivic examples in MS repro; 3 pages of content.
    \nIn Hanson\u2019s hand.
    \nAccompanied by negative photostatic reproductions of two of the pages.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Symphony No. 4, opus 34]
    \nSymphony no. IV (Requiem), opus 34. \u2014 [without date]
    \nFull score. Ink MS on Ozalid masters; 81 pages of music.
    \n\u201cIn memory of my Beloved Father\u201d\u2014in caption on first page.
    \n\u201cCopyright 1945 by the Eastman School of Music of the University of Rochester, Rochester, N.Y. International Copyright Secured.\u201d\u2014at foot of first page.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Symphony No. 4, opus 34]
    \nSymphony no. IV. \u2014 [without date]
    \nArranged for two pianos.
    \nInk MS on Ozalid masters. Each movement paginated separately: 16, 5, 12, 10 pages of music, respectively.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Symphony No. 4, opus 34]
    \nElegy from Symphony no. IV: arranged for WHAM (Rochester, NY radio station). <\/em>\u2014 [without date]
    \nInk MS; 6 parts present:
    \nClarinet I in B-flat \/ Clarinet II in B-flat \/ Bassoon II \/ Horns I or II in F \/ Trumpets I and II in B-flat \/ Trombone.
    \nAccompanied by MS repro copies of the Trumpets and Horns parts.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Symphony No. 4, opus 34]
    \nSeparated to box 61\/6. <\/em><\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Symphony No. 4, opus 34]
    \nSymphony no. IV, opus 34. \u2014 [without date]
    \nFull score, bound. MS repro, sourced from the Ozalid masters (box 54\/3).<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Symphony No. 4, opus 34]
    \nSymphony no. IV, opus 34. \u2014 [without date]
    \nFull score, bound. MS repro, sourced from the Ozalid masters (box 54\/3).
    \nBears performance markings in pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 51″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188758260{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Symphony No. 4, opus 34]
    \nSymphony no. IV. \u2014 [without date]
    \nArranged for two pianos.
    \nMS repro score, sourced from the Ozalid masters (box 54\/4).<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Symphony No. 5, opus 43 \u201cSinfonia Sacra\u201d]
    \nSinfonia Sacra: Symphony no. V. \u2014 Aug. 8, 1954
    \nFull score. Ink MS on Ozalid masters; 54 pages of music.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Symphony No. 5, opus 34 \u201cSinfonia Sacra\u201d]
    \nSinfonia Sacra: Symphony no. V. \u2014 [without date]
    \nParts. Ink MS on Ozalid masters; 29 parts.
    \nFlute I \/ Flute II \/ Piccolo \/ Oboe I \/ Oboe II \/ Oboe II and English Horn \/ Clarinet I in B-flat \/ Clarinet II in B-flat \/ Bassoon I \/ Bassoon II \/ Horn I in F \/ Horn II in F \/ Horn III in F \/ Horn IV in F \/ Trumpet I in B-flat \/ Trumpet II in B-flat \/ Trumpet III in B-flat \/ Trombone I \/ Trombone II \/ Bass Trombone \/ Tuba \/ Timpani (four) \/ Xylophone \/ Percussion (2nd Xylophone) \/ Harp \/ 1st Violins \/ 2nd Violins \/ Violas \/ \u2018Cellos.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Symphony No. 5, opus 34 \u201cSinfonia Sacra\u201d]
    \nPages 1 and 2 from the full score; MS repro, sourced from the Ozalid masters (box 55\/2).<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Symphony No. 7, \u201cA Sea Symphony\u201d]
    \nSeparated to box 63\/2.<\/em><\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Symphony No. 7, \u201cA Sea Symphony\u201d]
    \nSymphony no. VII, after Walt Whitman. \u2014 [without date]
    \nVocal score. Ink MS on Ozalid masters; 28 pages of music.
    \n\u201cTo Joseph Maddy and the National Music Camp of Interlochen on its 50th anniversary.\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Symphony No. 7, \u201cA Sea Symphony\u201d]
    \nSeparated to box 63\/3.<\/em><\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Symphony No. 7, \u201cA Sea Symphony\u201d]
    \nSeparated to box 63\/4.<\/em><\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Symphony No. 7, \u201cA Sea Symphony\u201d]
    \nSymphony no. 7, after Walt Whitman. \u2014 [without date]
    \nFirst movement, arranged for chorus with piano. MS repro; 11 pages of music.
    \nBound.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Symphony of Freedom]
    \nN.B. An occasional work arranged by Hanson for performance at the U.S. Second National Conference on UNESCO (Cleveland, Ohio, March 31st\/April 2nd, 1949). It was scored for narrator, chorus, and orchestra. In form and content, it constituted a pastiche in nine episodes that were linked together with original music by Hanson. Each of the nine episodes recognized a particular expression of freedom, sourced from documents that included the Magna Carta, the Charter of the United Nations, the Declaration of Independence, and the Constitution of UNESCO.
    \n<\/span>The music of the Symphony of Freedom <\/em>was drawn from such works as Randall Thompson\u2019s Testament of Freedom <\/em>(for episode V),<\/em> Aaron Copland\u2019s A Lincoln Portrait <\/em>(for episode VII),<\/em> and Hanson\u2019s own Symphony no. 3. By way of conclusion, the hymn \u201cGod of our Fathers\u201d in the arrangement by Livingston Gearhart. The Symphony of Freedom <\/em>was given its premiere performance on April 1st, 1949 by the Cleveland Symphony Orchestra, the Orpheus Male Chorus, and narrator Leonard Treash, all conducted by Hanson. The performance was recorded for Voice of America, under the auspices of which it would be broadcast to other countries. A copy of the narration is filed in Series 2, box 21\/23.
    \nTwo movements present (whether in part or in full):
    \n[title lacking] \u2014 [without date]
    \nFor narrator and orchestra.
    \nFull score. Ink MS on Ozalid masters; 6 pages of music (numbered 2-4, C1, C2, D1).
    \nGod of our Fathers. \u2014 [without date]
    \nFor chorus and orchestra.
    \nFull score. Ink MS on Ozalid masters; 14 pages of music.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Symphony of Freedom]
    \nFanfare & introduction. \u2014 [without date]
    \nParts. Ink MS on Ozalid masters; 19 parts.
    \nIn copyists\u2019 hands.
    \nFlutes I & II (2) \/ Oboes 1 & 2 \/ Clarinets 1 & 2 in B-flat (2) \/ Horns I & II \/ Horns III & IV \/ Trumpets I & II in B-flat (2) \/ Trombones I & II \/ 1st & 2nd Horns in F \/ Trombone III & Tuba (2) \/ Harp \/ 1st Violin \/ 2nd Violin \/ Viola \/ Cello \/ Bass.<\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\n[Symphony of Freedom]
    \n[Title lacking. Opening?] \u2014 [without date]
    \nFull score. Ink MS on Ozalid masters; 5 pages of music.<\/td>\n<\/tr>\n
    folder 13<\/strong><\/td>\n[Symphony of Freedom ]
    \nPages present:
    \n\u20a1
    \ngathering (Fanfare and Introduction)
    \n\u20a1
    \nsingle leaf (2 pages of music\/text, beginning at \u201cAnd the French have said it\u201d)
    \n\u20a1
    \ngathering (beginning at rehearsal 24)
    \n\u20a1
    \ngathering (beginning at Allegro moderator)
    \n\u20a1
    \nbifolium (2 pages of music, beginning at rehearsal C1)
    \n\u20a1
    \ngathering (pencilled comment: \u201cfrom Copland to Hanson\u201d )
    \n\u20a1
    \ngathering ( \u201cGod of our fathers\u201d )<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 52″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188770280{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Three Etudes, opus 18]
    \n[Each movement bears its own caption title] \u2014 [without date]
    \nMS repro; 7 pages of music.
    \nNegative photostatic reproduction.
    \n\u201cHoward H. Hanson, College of the Pacific, San Jos\u00e9, Calif.\u201d\u2014at foot of pages 3, 5, and 7. This signature dates the work as having been composed between 19__ and 1921.
    \nNo. 1. Rhythmic etude \u2014 No. 2. Lyrical etude \u2014 No. 3. Idyllic poem.
    \n\u20a1
    \nTre pezzi per pianoforte, opus 18. \u2014 [without date]
    \nInk MS; 7 pages of music.
    \nThe originally appearing caption titles (such as appear in the negative photostatic reproduction) have been erased and replaced by Italian-language titles in ink, together with the dedication \u201cOmaggio della Accademia Americana in Roma a Sua Maest\u00e0 il Re Vittorio Emmanuele III\u201d in the caption of the first page.
    \nNo. 1. Studio ritmico \u2014 No. 2. Studio melodico \u2014 No. 3. Poema idillico.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Three Etudes, opus 18]
    \nTre pezzi per pianoforte, opus 18. \u2014 [without date]
    \nIncomplete. Two of the three pieces are present; one is incomplete.
    \nMS repro; 7 pages of music.
    \n\u201cA Sua Maest\u00e0 il Re, Vittorio Emmanuele III, coll\u2019omaggio dell\u2019autore.\u201d\u2014dedication in Hanson\u2019s hand.
    \n1. Studio ritmico (pages 9-12) \u2014 [II] Poema idillico (pages 13-15, incomplete).<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Three Etudes, opus 18 ]
    \nTre pezzi per pianoforte, opus 18. \u2014 [without date]
    \nMS repro; 16 pages of music.
    \nDedication to King Vittorio Emmanuele III appears in Hanson\u2019s hand opposite the first page of music.
    \nThree copies.
    \nTitles in Italian, reflecting Hanson\u2019s re-casting of the work during his time in Rome: I. Studio ritmico \u2014 [ II ]. Studio melodico \u2014 [ III ]. Poema idillico.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Three Miniatures, opus 12]
    \n[Title lacking] \u2014 [without date]
    \nPencil sketch; 4 pages of music.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Three Miniatures, opus 12]
    \nThree miniatures \/ Howard Harold Hanson. \u2014 [without date]
    \nMS repro; 4 pages of music, unnumbered.
    \n\u201cHarold H. Hanson. Office of the Dean. College of the Pacific. San Jos\u00e9, Calif.\u201d\u2014at end of MS.
    \nAccompanied by a negative photostatic reproduction.
    \nNo. I. Reminiscence \u2014 No. 2. Lullabye \u2014 No. 3. Longing.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Three Songs for Children, opus 29]
    \nThree songs for children [title appears at foot of first page]. \u2014 [without date]
    \nFor high voice with piano.
    \nPencil MS; 4 pages of music.
    \nMarch (Bryant) \u2014 The coming of spring (Mary Howitt) \u2014 The night will never stay (Eleanor Farjeon).<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Three Songs for Children, opus 29]
    \nThree songs for children. \u2014 [without date]
    \nFor high voice with piano.
    \nFair copy in ink \/ Ink MS; 4 pages of music.
    \nMarch \u2014 The coming of spring \u2014 The night will never stay.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Three Songs for Children, opus 29]
    \n[Each song bears its own caption title] \u2014 [without date]
    \nOzalid masters; 4 pages of music.
    \nNot an autograph MS: professionally prepared notation with typescript text underlaid.
    \nMarch (author not cited) \u2014 The coming of spring (Mary Howitt) \u2014 The night will never stay (Eleanor Farjeon).<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Three Songs for Children, opus 29]
    \n[Each song bears its own caption title] \u2014 [without date]
    \nInk MS on Ozalid masters; 4 pages of music.
    \nIn a copyist\u2019s hand.
    \nMarch \u2014 The coming of spring \u2014 The night will never stay.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Three Songs for Children, opus 29]
    \nThree songs for children. \u2014 [without date]
    \nMS repro; 4 pages of music.
    \nMarch \u2014 The coming of spring \u2014 The night will never stay.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Three Songs for Children, opus 29 ]
    \n[Each song bears its own caption title] \u2014 [without date]
    \nMS repro, sourced from the Ozalid masters housed in box 56\/8.
    \nFour copies.<\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\n[Three Songs for Children, opus 29 ]
    \n[Each song bears its own caption title] \u2014 [without date]
    \nMS repro, sourced from the Ozalid masters housed in box 56\/9.
    \nIn a copyist\u2019s hand.
    \nFour copies.<\/td>\n<\/tr>\n
    folder 13<\/strong><\/td>\n[Three Songs for High Voice, opus 2]
    \n[Each song bears its own caption title] \u2014 [without date]
    \nIncomplete; one of the three songs not present.
    \nInk MS; 4 pages of music.
    \nCrossings-out indicate working drafts of the songs.
    \nTo music (poem from Shelley) \u2014 [without title] (words by Ruth Guthrie Harding, \u201cThe Boston Transcript\u201d).<\/td>\n<\/tr>\n
    folder 14<\/strong><\/td>\n[Three Songs for High Voice, opus 2]
    \nThree songs for tenor voice, opus no. 2 (1-2-3) \/ by Howard Harold Hanson. \u2014 [without date]
    \nWith piano accompaniment.
    \nInk MS; 6 pages of music.
    \n\u201cWritten at Northwestern University (begun the summer before \u2014 summer of 1915). First sung by Glen Chamberlain of Northwestern. Later by Mms. Francesca Zarad\u201d\u2014at foot of title page.
    \nBears performance markings in pencil.
    \nTo music (Percy Bysshe Shelley) \u2014 Remembering (Ruth Guthrie Harding in \u201cBoston Transcript\u201d) \u2014 Dawn (Anonymous).<\/td>\n<\/tr>\n
    folder 15<\/strong><\/td>\n[Three Songs for High Voice, opus 2]
    \nThree songs for high voice \/ Howard Harold Hanson. \u2014 [without date]
    \nInk MS; 6 pages of music.
    \nA different rendering than the MS housed in box 56\/13.
    \nTo music (Percy Bysshe Shelley) \u2014 Remembering (Ruth Guthrie Harding in \u201cBoston Transcript\u201d) \u2014 Dawn (Anonymous).<\/td>\n<\/tr>\n
    folder 16<\/strong><\/td>\n[Three Songs for High Voice, opus 2]
    \nOnly the individual songs bear titles. \u2014 1915
    \nInk MS on Ozalid masters; 6 pages of music.
    \nIn a copyist\u2019s hand.
    \nTo music (Percy Bysshe Shelley) \u2014 Remembering (Ruth Guthrie Harding in \u201cBoston Transcript\u201d) \u2014 Dawn (Anonymous).<\/td>\n<\/tr>\n
    folder 17<\/strong><\/td>\n[Three Songs for High Voice, opus 2]
    \nOnly the individual songs bear titles. \u2014 [without date]
    \nInk MS on Ozalid masters; 4 pages of music.
    \n[Professional prepared] notation with typescript text underlaid.
    \nTo music (Percy Bysshe Shelley) \u2014 Remembering (Ruth Guthrie Harding in \u201cBoston Transcript\u201d) \u2014 Dawn (Anonymous).<\/td>\n<\/tr>\n
    folder 18<\/strong><\/td>\n[Three Songs for High Voice, opus 2 ]
    \nMS repro, sourced from the Ozalid masters housed in box 56\/16.
    \nFive copies.<\/td>\n<\/tr>\n
    folder 19<\/strong><\/td>\n[Three Songs for High Voice, opus 2 ]
    \nMS repro, sourced from the Ozalid masters housed in box 56\/17.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 53″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188782408{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
    folder 1<\/strong><\/td>\n[Three Songs from Walt Whitman, opus 3]
    \nThree songs from \u201cNow Finale to the Shore\u201d op. 3, no. 1-2-3 \/ music by Howard Harold Hanson.
    \nInk MS; 13 pages of music.
    \nWords by Walt Whitman.
    \n1. The untold want \u2014 2. Portals \u2014 3. Joy! Shipmate — Joy!<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Three Songs from Walt Whitman, opus 3]
    \nThree songs from Walt Whitman\u2019s \u201cNow Finale to the Shore\u201d \/ by Howard Harold Hanson.
    \nInk MS; 6 pages of music.
    \n\u201cWritten summer of 1915 and completed with orchestral score 1915-16. Given by Harold Saurer of Northwestern. No. 3 introduced in New York and Boston with success by Mme. Caroline Hudson-Alexander, a great artist.\u201d\u2014on title page.
    \n\u201cHoward Harold Hanson \/ College of the Pacific \/ San Jose, Cal.\u201d\u2014at end of MS.
    \nThe setting of \u201cJoy! Shipmate — Joy!\u201d was \u201cdedicated to and sung by Mme. Hudson-Alexander\u201d\u2014Hanson\u2019s comment in caption of first page of that setting.
    \n1. The untold want \u2014 2. Portals \u2014 3. Joy! Shipmate — Joy!<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Three Songs from Walt Whitman, opus 3]
    \nThree songs from Walt Whitman\u2019s \u201cNow Finale to the Shore\u201d \/ Howard Harold Hanson. \u2014 [without date]
    \nInk MS on Ozalid masters; 6 pages of music.
    \n1. The untold want \u2014 2. Portals \u2014 3. Joy! Shipmate — Joy!<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Three Songs from Walt Whitman, opus 3]
    \nThree songs from Walt Whitman\u2019s \u201cNow Finale to the Shore\u201d. \u2014 [without date]
    \nInk MS; 6 pages of music.
    \nIn a copyist\u2019s hand.
    \n1. The untold want \u2014 2. Portals \u2014 3. Joy! Shipmate — Joy!<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Three Songs from Walt Whitman, opus 3]
    \n[Each song bears its own caption title] \u2014 [without date]
    \nInk MS on Ozalid masters; 5 pages of music.
    \nIn the hands of two different copyists: \u201cThe untold want\u201d and \u201cPortals\u201d in one hand; \u201cJoy! Shipmate — Joy!\u201d in another.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Three Songs from Walt Whitman, opus 3]
    \nPencil sketches; 10 pages of content.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Three Songs from Walt Whitman, opus 3]
    \nThree songs from Walt Whitman\u2019s \u201cNow Finale to the Shore\u201d. \u2014 [without date]
    \nMS repro, sourced from the Ozalid masters housed in box 57\/4.
    \nFour copies.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Three Songs from Walt Whitman, opus 3]
    \nOnly the song titles are present.
    \nMS repro, sourced from the Ozalid masters housed in box 57\/5.
    \nIn a copyist\u2019s hand.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[To the Queen of My Heart]
    \nTo the queen of my heart \/ Howard H. Hanson. \u2014 [without date]
    \nFor baritone or mezzo soprano with piano.
    \nInk MS; 4 pages of music.
    \nWords by Percy Bysshe Shelley.
    \n? Presentation copy. The first page is signed \u201cHoward H. Hanson H.H.H.\u201d and the last page is inscribed \u201cYours truly Howard H. Hanson Wahoo Nebr.\u201d.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Triumphal Ode, opus 11]
    \nTriumphal ode for military band, op. 11 \/ Howard H. Hanson. \u2014 [without date]
    \nFull score. Pencil MS; 13 pages of music.
    \nWorking draft.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Triumphal Ode, opus 11]
    \nTriumphal ode (opus 11) \/ Howard H. Hanson. \u2014 [without date.]
    \nFor military band.
    \nFull score. Ink MS; 19 pages of music.<\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\n[Triumphal Ode, opus 11]
    \nTriumphal ode \/ Howard Harold Hanson. \u2014 [without date]
    \nFor military band.
    \nParts. Ink MS; 3 parts.
    \nParts present: Solo 1st B-flat Cornet \/ 2nd B-flat Cornet \/ E-flat Cornet \/<\/td>\n<\/tr>\n
    folder 13<\/strong><\/td>\n[Two Songs from the Rubaiy\u00e1t of Omar Khayy\u00e1m]
    \nTwo songs from the \u201cRubaiyat\u201d of Omar Khayam \/ Howard H. Hanson.
    \nInk MS; 7 pages of music.
    \n\u201cWritten summer of 1916 but never did much of anything with them. Their opus no. is Op. 6 Nos. 2 & 3.\u201d\u2014at foot of first page.
    \nFirst lines of text: The worldly hope men set their eyes upon; and, Wake!, wake!, wake! For the sun who scattered into flight.
    \nAndante con moto \u2014 Allegro molto [crossed out and \u201cModerato\u201d written in pencil in its place].<\/td>\n<\/tr>\n
    folder 14<\/strong><\/td>\n[Two Songs from the Rubaiy\u00e1t of Omar Khayy\u00e1m]
    \n[Each song bears its own caption title] \u2014 [without date]
    \nInk MS on Ozalid masters; the two songs individually paginated, i.e. 3 and 3 pages of music.
    \nNot an autograph MS: professionally prepared notation with typescript text underlaid.
    \nThe worldly hope \u2014 Wake.<\/td>\n<\/tr>\n
    folder 15<\/strong><\/td>\n[Two Songs from the Rubaiy\u00e1t of Omar Khayy\u00e1m]
    \n[Each song bears its own caption title] \u2014 [without date]
    \nFor high voice (in B-flat minor and F major, respectively).
    \nInk MS on Ozalid masters; the two songs individually paginated, i.e. 3 and 3 pages of music.
    \nNot an autograph MS: professionally prepared notation with typescript text underlaid.
    \nThe worldly hope \u2014 Wake.<\/td>\n<\/tr>\n
    folder 16<\/strong><\/td>\n[Two Songs from the Rubaiy\u00e1t of Omar Khayy\u00e1m]
    \nWake! \u2014 [without date]
    \nSketches. Ink MS; two pages of music.<\/td>\n<\/tr>\n
    folder 17<\/strong><\/td>\n[Two Songs from the Rubaiy\u00e1t of Omar Khayy\u00e1m]
    \n[Each song bears its own caption title] \u2014 [without date]
    \nMS repro, sourced from the Ozalid masters housed in box 57\/14.
    \nFour copies.<\/td>\n<\/tr>\n
    folder 18<\/strong><\/td>\n[Two Songs from the Rubaiy\u00e1t of Omar Khayy\u00e1m, opus 4b]
    \n[Each song bears its own caption title] \u2014 [without date]
    \nMS repro, sourced from the Ozalid masters housed in box 57\/15.
    \nFour copies.<\/td>\n<\/tr>\n
    folder 20<\/strong><\/td>\n[Two Yuletide Pieces, opus 19]
    \nMarch carillon. \u2014 [without date]
    \nFor orchestra.
    \nFull score. Ink MS on Ozalid masters; 12 pages of music
    \nOpus 19, no. 2.
    \nTitle from the cardboard ersatz-binding imposed on the leaves; title lacking on the MS itself.<\/td>\n<\/tr>\n
    folder 19<\/strong><\/td>\n[Two Yuletide Pieces, opus 19]
    \nImpromptu. \u2014 1919
    \nParts. Ink MS on Ozalid masters; 5 parts.
    \nOpus 19, no. 1
    \nViolin I \/ Violin II \/ Viola \/ \u2018Cello \/ Bass.<\/td>\n<\/tr>\n
    folder 21<\/strong><\/td>\n[Two Yuletide Pieces, opus 19]
    \nMarch carillon. \u2014 [without date]
    \nFull score. Ink MS on Ozalid masters; 12 pages of music.
    \nIn a copyist\u2019s hand.<\/td>\n<\/tr>\n
    folder 22<\/strong><\/td>\n[Two Yuletide Pieces, opus 19]
    \nMarch carillon. \u2014 [without date]
    \nFor piano.
    \nMS repro; 3 pages of music.
    \n\u201cTo Leo Sowerby\u201d\u2014at head of first page.
    \nThree copies.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 54″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188795855{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Variations on an Ancient Hymn]
    \nTitle lacking on MS. \u2014 [without date]
    \nPencil MS on Ozalid masters; 21 pages of music, numbered 1-10, 12, 13, 17-19, 21, 22, followed by 4 unnumbered pages.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Variations on an Ancient Hymn]
    \nVariations on an ancient hymn. \u2014 [without date]
    \nFor wind ensemble.
    \nFull score. MS repro; 14 pages of music.
    \nTwo copies, each bound.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Well-a-day!]
    \nWell-a-day! \/ Howard H. Hanson. \u2014 [without date]
    \nFor voice and piano.
    \nInk MS; 3 pages of music.
    \nWords by La Touche Hancock.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[What is Love?]
    \nWhat is love? \/ Howard H. Hanson. \u2014 [without date]
    \nFor voice and piano.
    \nInk MS; 2 pages of music.
    \nWords by La Touche Hancock.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Young Person\u2019s Guide to the Six-Tone Scale]
    \nYoung person\u2019s guide to the six-tone scale. \u2014 [without date]
    \nFor solo piano, winds, brass and percussion.
    \nFull score. Ink MS on Ozalid masters; 50 pages of music.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Young Person\u2019s Guide to the Six-Tone Scale]
    \nYoung person\u2019s guide to the six-tone scale, or, Thirty-five scales in search of composers: suite for solo piano, winds and percussion in 35 movements.
    \nFull score. Ink MS on Ozalid masters; 63 pages of music.
    \nA different rendering from the full score housed in box 58\/5.
    \n\u201cDedicated to the Fiftieth Anniversary of the Eastman School of Music. 1921-22; 1971-72.\u201d\u2014 at foot of first page.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Young Person\u2019s Guide to the Six-Tone Scale]
    \nYoung person\u2019s guide to the six-tone scale. \u2014 [without date]
    \nParts. Ink MS on Ozalid masters; 8 parts present.
    \nIn a copyist\u2019s hand.
    \nFlute \/ Oboe \/ Clarinet in B-flat \/ Bassoon \/ Horns 1 and 2 in F \/ Horns 3, 4 \/ Trumpet in B-flat \/ Percussion.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Young Person\u2019s Guide to the Six-Tone Scale]
    \n[Title lacking] \u2014 [without date]
    \nSketches. Pencil MS on Ozalid masters; 21 pages of music, numbered 1-10, 12, 13, 17-19, 21, 22, followed by 4 unnumbered pages.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Young Person\u2019s Guide to the Six-Tone Scale]
    \nYoung person\u2019s guide to the orchestra. \u2014 [without date]
    \nFor chamber orchestra, as indicated by Hanson on this manifestation.
    \nFull score. MS repro; 50 pages of music. Sourced from the Ozalid masters housed in box 58\/5.
    \nTwo copies, each bound.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Young Person\u2019s Guide to the Six-Tone Scale]
    \nYoung person\u2019s guide to the six-tone scale, or, Thirty-five scales in search of composers: suite for solo piano, winds and percussion in 35 movements.
    \nFull score, bound. MS repro; 63 pages of music. Sourced from the Ozalid masters housed in box 58\/6.
    \nBears Hanson\u2019s performance markings in pencil throughout.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Young Person\u2019s Guide to the Six-Tone Scale]
    \nYoung person\u2019s guide to the six-tone scale, or, Thirty-five scales in search of composers: suite for solo piano, winds and percussion in 35 movements.
    \nFull score, bound. MS repro; 63 pages of music. Sourced from the Ozalid masters housed in box 58\/6.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 55″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609188806937{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
    folder 1<\/strong><\/td>\n[Young Person\u2019s Guide to the Six-Tone Scale]
    \nYoung person\u2019s guide to the six-tone scale, or, Thirty-five scales in search of composers: arr. for two pianos. \u2014 [without date]
    \nTwo-piano score. MS repro; 51 pages of music.
    \nTwo copies.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

    <\/a>Sub-series B: Arrangements of music by other composers<\/span><\/em><\/p>\n

    [\/vc_column_text][vc_custom_heading text=”Box 55, continued” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607963877837{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 2<\/strong><\/td>\nSyrian national anthem \/ arr. by Howard Hanson. \u2014 Dec. 22, 1961
    \nFull score. Pencil MS; 5 pages of music.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\nSyrian national anthem.
    \nNegative photostatic reproduction of the pencil MS housed in box 59\/2.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\nSyrian national anthem. \u2014 Dec. 14, 1961
    \nFor piano. MS repro; 2 pages of music.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\nYe awful Stigian powers [from Alceste] \/ Gluck. \u2014 [without date]
    \nThe accompaniment orchestrated.
    \nParts. Ink MS; 16 parts.
    \n1st Flute \/ 2nd Flute \/ 1st Oboe \/ 1st Clarinet in B-flat \/ 2nd Clarinet in B-flat \/ Bassoon \/ Horns in F \/ Trumpet in B-flat \/ Trombone \/ Timpani \/ 1st Violin (2) \/ 2nd Violin \/ Viola \/ Cello \/ Bass.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\nCavatine Plus Grand [from La Reine des Saba] \/ Gounod. \u2014 [without date]
    \nThe accompaniment orchestrated.
    \nParts. Ink MS; 14 parts.
    \n1st Flute \/ 2nd Flute \/ Oboe \/ 1st Clarinet in A \/ 2nd Clarinet in A \/ Bassoon \/ Horns in F \/ Timpani \/ 1st Violin (2) \/ 2nd Violin \/ Viola \/ Cello \/ Bass<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\nOverture [from] Il pastor fido \/ H\u00e4ndel; edited by Howard Hanson. \u2014 [without date]
    \nHarpsichord part. Ink MS; 8 pages of music.
    \nRehearsal numbers added in red pencil.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\nLascia ch\u2019io pianga [from Rinaldo] \/ Handel. \u2014 [without date]
    \nThe accompaniment orchestrated.
    \nParts. Ink MS\/ 6 parts.
    \n1st Violin (2) \/ 2nd Violin \/ Viola \/ Cello \/ Bass.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\nTui sunt coeli \/ Orlandi di Lasso; arranged by Howard Hanson. \u2014 [without date]
    \nFor two brass choirs.
    \nFull score. MS repro; 8 pages of music.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Palestrina: Missa Papae Marcelli. Kyrie, arr.]
    \nKyrie [from] Palestrina, Missa Papae Marcelli. \u2014 [without date]
    \nChoral score. Ink MS on Ozalid masters; 5 pages of music.
    \nScored for cantus, altus, tenor I, tenor II, bassus I, bassus II.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Palestrina: Missa Papae Marcelli. Kyrie, arr.]
    \nSeparated to box 63\/5.<\/em><\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\n[Palestrina: Missa Papae Marcelli. Kyrie, arr.]
    \nKyrie [from the] Missa Papae Marcelli \/ Palestrina; transcribed for chorus and orchestra by Howard Hanson. \u2014 Dec. 22, 1936.
    \nFull score. MS repro; 42 pages of music.
    \nNegative photostatic reproduction of the autograph MS.<\/td>\n<\/tr>\n
    folder 13<\/strong><\/td>\n[Palestrina: Missa Papae Marcelli: Kyrie, arr.]
    \nChoral score. MS repro from the Ozalid masters housed in box 59\/10.<\/td>\n<\/tr>\n
    folder 14<\/strong><\/td>\n[Palestrina: Missa Papae Marcelli, arr.]
    \nKyrie, Gloria, [and] Credo [from the] Missa Papae Marcelli \/ Giovanni Pierluigi da Palestrina; transcribed for chorus and orchestra by Howard Hanson. \u2014 [without date]
    \nFull score. MS repro; 30 pages of music.
    \nNegative photostatic reproduction of MS in a copyist\u2019s hand.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 56″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607963925063{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
    folder 1<\/strong><\/td>\n[Palestrina: Veni Sanctus (i.e. Sancte) Spiritus, arr.]
    \nVeni sanctus spiritus \/ Palestrina; transcribed by Howard Hanson. \u2014 Feb 3, 1959
    \nFor orchestra.
    \nFull score. Ink MS on Ozalid masters; 2 pages of music.
    \nThe date added in ink in a hand other than Hanson\u2019s.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Palestrina: Veni Sanctus (i.e. Sancte) Spiritus, arr.]
    \nVeni sanctus spiritus \/ Palestrina; transcribed by Howard Hanson. \u2014 [without date]
    \nParts. Ink MS on Ozalid masters; 19 parts.
    \nIn a copyist\u2019s hand.
    \nPiccolo \/ Flutes I & II \/ Oboes I & II \/ English Horn \/ Clarinets I & II in B-flat \/ Bass Clarinet in B-flat \/ Bassoons I & II \/ Contra Bassoon \/ Horns I & II in F \/ Horns III & IV in F \/ Trumpets I & II in C \/ Trumpet III in C \/ Trombones I & II \/ Trombone III & Tuba \/ Violin I \/ Violin II \/ Viola \/ Cello \/ Bass.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Palestrina: Veni Sanctus (i.e. Sancte) Spiritus, arr.]
    \nVeni sanctus spiritus \/ Palestrina; transcribed by Howard Hanson.
    \nFull score. MS repro sourced from the Ozalid masters (box 56\/1).<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Palestrina: Veni Sanctus (i.e. Sancte) Spiritus, arr.]
    \nVeni sanctus spiritus \/ Palestrina; transcribed by Howard Hanson.
    \nParts. MS repro parts sourced from the Ozalid masters (box 56\/2).
    \nProvenance: Eastman School of Music Orchestra Library.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Purcell. The prophetess, or The history of Dioclesian. Incidental Music, arr.]
    \nIncidental music to Dioclesian \/ Henry Purcell; arr. by H.H. \u2014 [without date]
    \nParts. A hybrid set comprised of ink MS on Ozalid masters and\/or on MS paper; and MS repro parts, some sourced from the Ozalid masters present.
    \nBoth autograph and scribal MS present.
    \nProvenance: Eastman School of Music Orchestra Library.
    \nRepresentation of parts by their means of rendering:
    \n<\/em>Ink MS, autograph:
    \nFlute I \/ Flute II \/ Flutes I-II \/ I Oboe \/ II Oboe \/ English Horn \/ Clarinets I & II in B-flat (1) \/ Horn I in F \/ Horn II in F \/ Horn III in F \/ Trumpet I in B-flat \/ Trumpet II in B-flat \/ Trumpet III in B-flat.
    \nMS repro parts (from Ozalid masters):
    \nHorn I in F \/ Horn II in F \/ Horn III in F \/ Trumpet I in B-flat \/ Trumpet II in B-flat \/ Trumpet III in B-flat.
    \nInk MS on Ozalid masters, autograph:
    \nClarinets I & II in B-flat \/ Bassoon I & II \/
    \nInk MS on Ozalid masters, in copyists\u2019 hands:
    \nViolin I (1) \/ Violin II (1) \/ Viola \/ Cello & Bass.
    \nMS repro, in a copyist\u2019s hand:
    \nPiano (heavily marked up for organist\u2019s use and marked \u201cOrgan\u201d in Hanson\u2019s hand).
    \nIn a folder marked \u201cOLD PARTS RE-WRITTEN\u201d:
    \nBassoon I \/ Bassoon II \/ Horn I in E-flat (2) \/ Horn II in E-flat \/ Horn III in E-flat (2) \/ Trumpet I in B-flat \/ Trumpet II in B-flat \/ Trumpet III in B-flat \/ Trumpet IV in B-flat.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Star Spangled Banner, arr.]
    \nThe star-spangled banner \/ orch. by Howard Hanson. \u2014 [without date]
    \nFor orchestra.
    \nFull score. Ink MS on Ozalid masters; 4 pages of music.
    \nParts. Ink MS on Ozalid masters; only the 5 strings parts present.
    \nViolins I \/ Violins II \/ Viola \/ \u2018Cellos \/ Basses.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Swedish Folk Songs, arr.]
    \nThree Swedish folksongs \/ arr. by Howard Hanson. \u2014 [without date]
    \nFor voice and piano.
    \nInk MS on Ozalid masters; 6 pages of music.
    \n1. Kristallen den fina \u2014 II. Gl\u00e4djens Blomster \u2014 Domaredansen.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Swedish Folk Songs, arr.]
    \nPencil sketches. These songs herein represented as Hanson\u2019s opus 15.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[Swedish Folk Songs, arr.]
    \nMS repro sourced from the Ozalid masters (box 60\/7).
    \nFour copies.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

    <\/a>Sub-series C: Other writings<\/span><\/em><\/p>\n

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

    <\/a>Sub-sub-series i: Harmonic Materials of Modern Music<\/strong> <\/span><\/em><\/p>\n

    [\/vc_column_text][vc_custom_heading text=”Box 56, continued” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607964111424{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
    folder 10<\/strong><\/td>\n[Harmonic Materials of Modern Music]
    \nNotational representation of musical illustrations and exercises for the book.
    \nInk MS on Ozalid masters; the gathering of material partially paginated.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Harmonic Materials of Modern Music]
    \nSketch material.
    \nInk and pencil MS on Ozalid masters.<\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\n[Harmonic Materials of Modern Music]
    \nNotational illustrations for the book, primarily of the projections of various series.
    \nInk MS on Ozalid masters.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 57″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607964274490{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Harmonic Materials of Modern Music]
    \nMS repro from Ozalid masters housed in box 56.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Harmonic Materials of Modern Music]
    \nMS repro from Ozalid masters housed in box 56.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Harmonic Materials of Modern Music]
    \nMS repro from Ozalid masters housed in box 56.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Harmonic Materials of Modern Music]
    \nMS repro from Ozalid masters housed in box 56.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 66″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607964361331{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
    Harmonic Materials of Modern Music<\/em>. New York: Appleton-Century-Crofts,
    \nInc., 1960. Annotated proof copy.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

    <\/a>Sub-sub-series ii: Sketches<\/span><\/em><\/p>\n

    [\/vc_column_text][vc_custom_heading text=”Box 57″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607964274490{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
    folder 5<\/strong><\/td>\nSketches from Hanson\u2019s high school years.
    \nA variety of sketches and\/or completed works in pencil and in ink. The manuscripts marked either \u201cHigh school\u201d or \u201cH.S. sketch\u201d by Hanson in ink.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 58″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607964589598{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\nSketch material<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\nSketch material. Separated to box 63\/6.<\/em><\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\nSketch material<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\nSketches, Sonority Studies, Statistics<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\nSketches, Sonority Studies, Statistics<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\nSketches, Sonority Studies, Statistics. Separated to box 63\/7.<\/em><\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\nSketches, Sonority Studies, Statistics<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 63″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607964640029{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Centennial March]
    \nOne manuscript book containing sketches in pencil. Title \u201cCentennial March\u201d on cover in Hanson\u2019s hand.
    \nN.B. [? Researcher\u2019s] post-it note indicates for Symphony no. 6, also.<\/span><\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Songs from Drum Taps]
    \nTwo manuscript books containing sketches in ink and in pencil. Title on cover of one book in Hanson\u2019s hand; the other book lacks a title.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Palestrina. Missa Papae Marcelli. Kyrie, arr.]
    \nOne manuscript book containing sketches for the Kyrie Eleison in ink.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[The Mystic Trumpeter]
    \nTwo manuscript books containing sketches in pencil and in ink. Title on cover of each book in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[? Song of Democracy? Song of Human Rights? Symphony of Freedom?]
    \nTwo manuscript books containing sketches in pencil and in ink. Title \u201cExcerpts from the Preamble to THE UNIVERSAL DECLARATION OF HUMAN RIGHTS\u201d on cover of one book in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[? Psalms]
    \nOne manuscript book containing sketches in pencil. Titles \u201cPsalms No. 6, 47, 46, 150, 8\u201d on cover in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[? Psalms]
    \nOne manuscript book containing sketches in pencil. \u201cSketches for Psalms Nos. 46, 8, and 150 for voice and string sextet\u201d on cover in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Psalm 150]
    \nOne manuscript book containing sketches in pencil and in ink for Psalm 150. Title and date September 1964 on cover in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n[? Psalms]
    \nOne manuscript book containing sketches in pencil. \u201cPsalms Nos. 47 and 6 for voice and string sextet\u201d on cover in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\n[Psalm 47]
    \nOne manuscript book containing sketches in pencil for Psalm 47.
    \nN.B. [? Researcher\u2019s] post-it note indicates also for Dies Natalis.<\/span><\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\n[Psalm 8]
    \nOne manuscript book containing sketches in pencil for Psalm 8. Rubric \u201cOther sketch\u201d on cover in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 1<\/strong><\/td>\n[Quartet in One Movement, opus 23]
    \nTwo manuscript books containing sketches in pencil. Each book labelled by Hanson with respect to title and \u201cBk. I\u201d and \u201cBk. I\u201d.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Summer Seascape No. 2]
    \nOne manuscript book containing sketches in pencil. Title on cover in Hanson\u2019s hand.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 64″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607964664892{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n
    folder 3<\/strong><\/td>\n[Symphonic Legend, opus 8]
    \nTwo manuscript books containing pencil sketches for the Symphonic Legend. Title on both books in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Exaltation, opus 20]
    \nOne manuscript book containing pencil sketches. Title on cover in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Symphony No. 2, opus __ \u201cRomantic\u201d]
    \nTwo manuscript books containing pencil sketches for movements II and III. Their covers labelled in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Symphony No. 6]
    \nTwo manuscript books containing pencil sketches. Each book labelled by Hanson with respect to title and \u201cVol. I\u201d and \u201cVol. I.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Sketches, not elsewhere classified]
    \nOne manuscript book containing pencil sketches. Contents include two apparently complete song settings: I heard a bird song (Oliver Herford) and The falling star (Sara Teasdale).<\/td>\n<\/tr>\n
    folder 1<\/strong><\/td>\nLibretto by Richard L. Stokes for Merry Mount<\/em>, act I. Typescript draft; 42 pages. With revisions in pencil.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\nLibretto by Richard L. Stokes for Merry Mount<\/em>. Typescript draft; 96 pages. With revisions in pencil.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\nLibretto by Richard L. Stokes for Merry Mount<\/em>. Typescript draft; 96 pages.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 65″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607964690485{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
    folder 1<\/strong><\/td>\nManuscript book containing pencil sketches.
    \nOn cover: Howard H. Hanson, College of the Pacific, San Jos\u00e9, Cal.
    \nN.B. Some vocal score content; text: Behold, God spake and said \u201cLet there be Light,\u201d and there was light.<\/span><\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\nManuscript book containing sketches in pencil and in ink.
    \nLacking any titles, rubrics, or headings.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\nManuscript book containing [sketches] in pencil.
    \nLacking any titles, rubrics, or headings.
    \nN.B. May resemble material for his book Harmonic Materials of Modern Music<\/em>.<\/span><\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\nManuscript book containing sketches in pencil.
    \nN.B. Per [ ? researcher\u2019s] post-it note: includes themes from the Concerto for Piano and Orchestra.<\/span><\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\nManuscript book containing sketches in pencil.
    \nNotation style indicates juvenile material.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\nManuscript book containing sketches in pencil.
    \nLacking any titles, rubrics, or headings.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\nManuscript book containing sketches in pencil.
    \nLacking any titles, rubrics, or headings.
    \n\u201cImportant Manuscript. If lost please be so kind and return to address below. Howard Hanson, Director. Eastman School of Music. Rochester, New York\u201d\u2014cover note in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\nManuscript book containing sketches in pencil.
    \nLacking any titles, rubrics, or headings.
    \nN.B. Material from Symphony no. 2 present.<\/span><\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\nOne manuscript book containing sketches in pencil.
    \nLacking any titles, rubrics, or headings.
    \nPer [ ? researcher\u2019s] post-it note: material for Symphony no. 6 and also the book Harmonic Materials <\/em>present.<\/td>\n<\/tr>\n
    folder 10<\/strong><\/td>\nManuscript book containing sketches in pencil and in ink.
    \nLacking any titles, rubrics, or headings.<\/td>\n<\/tr>\n
    folder 11<\/strong><\/td>\nManuscript book containing sketches in pencil and in ink.
    \n\u201cSketch-book 1966\u201d\u2014on cover in Hanson\u2019s hand.
    \nN.B. Per [ ? researcher\u2019s] post-it note, material for Symphony no. 6 present.<\/span><\/td>\n<\/tr>\n
    folder 12<\/strong><\/td>\nManuscript book containing his work in Applied Counterpoint under the tutelage of Dr. Percy Geotschius. \u2014 March and April, 1915.<\/td>\n<\/tr>\n
    folder 13<\/strong><\/td>\nManuscript book labelled \u201cHarmonic Projections 1964 -\u201c on cover in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 14<\/strong><\/td>\nManuscript book labelled \u201charmonic Progressions\u201d on cover in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 15<\/strong><\/td>\nManuscript book containing material in pencil.
    \nN.B. Content resembles that of previous manuscript books devoted to \u201cHarmonic Progressions\u201d material.<\/span><\/td>\n<\/tr>\n
    folder 16<\/strong><\/td>\nManuscript book labelled \u201c1965 Harmonic Progressions II\u201d on cover in Hanson\u2019s hand.<\/td>\n<\/tr>\n
    folder 17<\/strong><\/td>\nManuscript book containing material in pencil and in ink.
    \nN.B. Content resembles that of previous manuscript books devoted to \u201cHarmonic Progressions\u201d material.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

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

    [\/vc_column_text][vc_custom_heading text=”Box 59″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607964760973{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Hymn for the Pioneers]
    \nSketches for Hymn for the Pioneers. \u2014 [without date]
    \nPencil MS; 4 pages of content.
    \nCaption title \u201cSketches\u201d added by Hanson in blue pencil.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Lux Aeterna, opus 24]
    \nLux aeterna, opus 24: symphonic poem for viola and orchestra. \u2014 Christmas Day, 1923
    \nFull score. Ink MS on Ozalid masters; 56 pages of music.
    \n\u201cTo Lionel Tertis\u201d\u2014dedication in caption of first page.
    \n\u201cFinished Christmas Day, 1923 American Academy in Rome\u201d\u2014at end of MS.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Lux Aeterna, opus 24]
    \nLux aeterna, opus 24: symphonic poem for orchestra (with viola obligato). \u2014 Christmas Day, 1923
    \nFull score. MS repro from the Ozalid masters (box 64\/2); 56 pages of music.
    \nChange in caption of first page added by Hanson in ink: from \u201cSymphonic poem for viola and orchestra\u201d (on Ozalid master) to \u201cSymphonic poem for orchestra (with viola obligato)\u201d (on this copy).
    \nBears Hanson\u2019s performance markings in pencil and in blue pencil throughout.
    \nBears numerous pasted-on addenda and corrigenda.
    \nName and address of conductor Albert Coates pencilled by Hanson inside the front cover; a cover note from Hanson to Coates is pencilled on the page facing the first page of music, presumably in connection with Coates\u2019 use of the MS.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Lux Aeterna, opus 24]
    \nLux aeterna, opus 24: symphonic poem for orchestra (with viola obligato). \u2014 Christmas Day, 1923
    \nFull score. MS repro from the Ozalid masters (box 64\/2); 56 pages of music.
    \nChange in caption of first page added by Hanson in ink: from \u201cSymphonic poem for viola and orchestra\u201d (on Ozalid master) to \u201cSymphonic poem for orchestra (with viola obligato)\u201d (on this copy).
    \nBears corrections in black ink.
    \nBears performance markings in pencil.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Merry Mount, opus 31]
    \n\u201cMerry Mount\u201d sketches.
    \nSketches in pencil and in ink; 14 leaves.
    \nThe rubric \u201csketches\u201d added by Hanson in blue pencil in the caption of the first page.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Merry Mount, opus 31]
    \nTitle lacking.
    \nScored for full orchestra. Ink MS; 12 pages of music, numbered 219B-219M; pagination 2-13 added in pencil at head of pages.
    \nComprises the sequence from rehearsal 54A through (and including) 54H.
    \nBears performance markings in pencil in a hand other than Hanson\u2019s.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Merry Mount Suite]
    \nMerry Mount Suite. \u2014 [without date]
    \nFor orchestra.
    \nFull score, bound. MS repro; 90 pages of music.
    \nIn a copyist\u2019s hand.
    \nPresumably a proof copy; addenda and corrigenda added in red pencil. Hanson pencilled comment on front cover \u201cO.K. for return to Mr. Dowling\u201d.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Mosaics]
    \nMosaics. \u2014 [without date]
    \nFor orchestra.
    \nFull score. Ink MS on Ozalid masters; 48 pages of music.
    \n\u201cTo my friend George Szell and the Cleveland Symphony in admiration\u201d\u2014dedication in caption of first page.
    \n\u201cc1958 Eastman School of Music Rochester 4, N.Y.\u201d\u2014at foot of first page.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 60″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607964795102{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[North and West, opus 22]
    \nNorth and west: symbolic poem, opus 22. \u2014 Feb. 1923
    \nFor orchestra with wordless chorus obligato.
    \nFull score. Ink MS on Ozalid masters; 55 pages of music.
    \nPreceding the first page of music is one page providing the instrumentation and also the composer\u2019s explication regarding the vocal parts. Signed: Accademia Americana, Roma, Italia. February, 1923.
    \n\u201cAmerican Academy, Rome, Italy Feb. 1923\u201d\u2014at end of MS.
    \nThis MS incorporates changes that were previously made in the MS shelved in the SML vault stacks, shelf no. ML96 .H251No.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[North and West, opus 22]
    \nNorth and west: symbolic poem, opus 22. \u2014 Feb. 1923
    \nFor orchestra with wordless chorus obligato.
    \nFull score, bound. MS repro sourced from the Ozalid masters (box 65\/1).
    \nWith annotations in pencil throughout.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[North and West, opus 22]
    \nNorth and west: symbolic poem, opus 22. \u2014 Feb. 1923
    \nFor orchestra with wordless chorus obligato.
    \nFull score, bound. MS repro sourced from the Ozalid masters (box 65\/1).
    \nCorrections indicated by Hanson in pencil on page facing page 3.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Serenade for Flute, Harp and Strings, opus 85]
    \nSketches in pencil and in ink. 6 leaves.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nSong of democracy. \u2014 Aug. 19, 1956
    \nFor chorus and orchestra.
    \nFull score. Ink MS on Ozalid masters; 44 pages of music.
    \nText by Walt Whitman.
    \n\u201cTo the Music Educators of America for the Anniversary of the National Education Association and the 50th anniversary of the Music Educators National Conference\u201d\u2014in caption on first page.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nSong of democracy. \u2014 [without date]
    \nScored for band and chorus.
    \nFull score. Ink MS on Ozalid masters; 44 pages of music.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nSong of democracy. \u2014 Aug. 19, 1956
    \nFull score, bound. MS repro sourced from the Ozalid masters (box 65\/5).<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n[Song of Democracy, opus 44]
    \nSong of democracy. \u2014 [without date]
    \nScored for band and chorus.
    \nFull score, bound. MS repro sourced from the Ozalid masters (box 65\/6).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 61″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607964824950{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Symphony No. 1, opus 21 \u201cNordic\u201d]
    \nNordic Symphony [in E minor, op. 21] \/ Howard Hanson. \u2014 May 1922
    \nFull score. Ink MS on Ozalid masters; 108 pages of music.
    \n\u201cTo Felix Lamond\u201d\u2014dedication in caption of first page.
    \nN.B. Incorporates revisions made on MS bearing accession no. 685916 (the same MS that Hanson used in the premiere performance, and that was signed by the orchestral players).\u00a0\u00a0<\/span><\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Symphony No. 1, opus 21 \u201cNordic\u201d]
    \nFull score, bound. MS repro sourced from the Ozalid masters housed in box 61\/1.
    \nPrinted program note affixed to page facing the first page of music.
    \nSeveral errors in score cited by Hanson in pencil following end of MS.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Symphony No. 1, opus 21 \u201cNordic\u201d]
    \nFull score. MS repro sourced from the Ozalid masters now housed in box 61\/1. Incomplete: movements I and II only (pages 1-58).
    \nCopiously annotated by Hanson in red ink, black ink, and blue pencil; his addenda and corrigenda later incorporated into either or both of the other copies.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Symphony No. 3, opus 33]
    \nSymphony no. III. \u2014 [without date]
    \nArrangement for symphonic band.
    \nFull score, bound. MS repro; 128 pages of music.
    \nIn a copyist\u2019s hand.
    \nLines for solo parts added in red ink throughout.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Symphony No. 3, opus 33]
    \nSketches for Symphony no. III. \u2014 [without date]
    \nInk and pencil MS; 18 leaves.
    \nCaption title added by Hanson in blue pencil.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Symphony No. 4, opus 34]
    \nSketches for 1st mvt. Of Symph. No. IV. \u2014 [without date]
    \nInk and pencil MS;<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 62″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607964834637{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\nReminiscence; and, Lullaby \/ Hanson. \u2014 [without date]
    \nFor string quintet.
    \nInk MS on Ozalid masters; 5 parts.
    \nNos. 1 and 2 from Three Miniatures, opus 12 (1918-19, originally for piano).
    \nNot in Hanson\u2019s hand.
    \nNo statement of attribution regarding this arrangement.
    \nViolin I \/ Violin II \/ Viola \/ Cello \/ Bass.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Songs from Drum Taps, opus 32]
    \n[Title statement] \u2014
    \nProof copy of the vocal score. Green-line reproduction.
    \nBears corrections in black in on several pages.
    \nAccompanied by additional proof copies of pages 1, 27, 28, 30, and 43.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Hymn for the Pioneers]
    \nHymn for the Pioneers (Hymn till Pianiererna). \u2014
    \nProof copies of pages 2, 4-12. Green-line reproduction.
    \nCopiously marked by Hanson in pencil, red pencil, and black ink.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Palestrina: Missa Papae Marcelli, arr.]
    \nMissa Papae Marcelli \/ Palestrina; transcribed for chorus and orchestra by Howard Hanson.
    \nVocal score. Green-line reproduction pages representing the first, second, and third proof copies, issued in December, 1936 and January, 1937.
    \nAdditions and corrections in pencil.
    \nAccompanied by envelope of transmittal, sent from J. Fischer & Bro. (New York, NY).
    \nKyrie \u2014 Gloria in excelsis Deo \u2014 Credo in unum Deum.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Quartet in One Movement, opus 23]
    \nQuartet in one movement, opus 23.
    \nScore and parts. \u201c1st proof out\u201d\u2014each page stamped thus.
    \nCorrections and additions in pencil.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n[Symphony No. 2, \u201cRomantic\u201d]
    \nSymphony No. II \u201cRomantic\u201d.
    \nFull score. Proof copy. Green-line reproduction.
    \nCorrections and comments in pencil and in blue pencil.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n[Symphony No. 2, \u201cRomantic\u201d]
    \nSymphony No. II \u201cRomantic\u201d.
    \nFull score. Second proof copy. Green-line reproduction.
    \n\u201cProof II Nov 12\/31\u201d\u2014in pencil at head of first page.
    \nAdditions and corrections in pencil and in black ink.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 67″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607964852142{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n[Concerto for Organ and Orchestra, opus 27]
    \nConcerto for organ with orchestra. \u2014 without date
    \nFull score, bound. Pencil MS, with exception of the organ part, rendered in ink; 53 pages of music.
    \n\u201cOpus 27\u201d added in caption of first page, not in the composer\u2019s hand.
    \nBears performance markings in pencil.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n[Symphony No. 7, \u201cA Sea Symphony\u201d]
    \nA sea symphony after Walt Whitman. \u2014 without date
    \nFor chorus and wind ensemble
    \nFull score. Ink MS on Ozalid masters; 54 pages of music.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n[Symphony No. 7, \u201cA Sea Symphony\u201d ]
    \nA sea symphony after Walt Whitman. \u2014 without date
    \nFor chorus and orchestra.
    \nMS repro; 54 pages of music.
    \nEach movement bound separately.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n[Symphony No. 7, \u201cA Sea Symphony\u201d]
    \nA sea symphony after Walt Whitman. \u2014 without date
    \nFor chorus and wind ensemble.
    \nFull score. MS repro from the Ozalid masters (box 63\/2).<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n[Palestrina: Missa Papae Marcelli, arr.]
    \nSketches. In ink and in pencil; 15 leaves.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\nUnidentified Sketches<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\nSketches, Sonority Studies, Statistics<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_column_text css=”.vc_custom_1607965197933{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

    <\/a>Series 4: Press material<\/h3>\n

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

    <\/a>Sub-series A: Scrapbooks<\/span><\/em><\/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\n\n\n\n\n
    Box 112<\/strong><\/td>\nScrapbook 1\u00a0\u00a0\u00a0 Press clippings & programs, 1912-1923.
    \nScrapbook 1\u00a0\u00a0\u00a0 Press clippings, 1924-1925.<\/td>\n<\/tr>\n
    Box 113<\/strong><\/td>\nScrapbook 1B Press clippings, 1923-1928.
    \nScrapbook 2\u00a0\u00a0\u00a0 Press clippings & programs, 1929 – January, 1931.<\/td>\n<\/tr>\n
    Box 114<\/strong><\/td>\nScrapbook 3\u00a0\u00a0\u00a0 Press clippings & programs, January, 1931 – January 14, 1933.
    \nScrapbook 4\u00a0\u00a0\u00a0 Press clippings & programs, January 14, 1933 \u2013 December 30, 1933.<\/td>\n<\/tr>\n
    Box 115<\/strong><\/td>\nScrapbook 5\u00a0\u00a0\u00a0 Press clippings & programs, January 1 \u2013 December 31, 1934.<\/td>\n<\/tr>\n
    Box 116<\/strong><\/td>\nScrapbook 6\u00a0\u00a0\u00a0 Press clippings & programs, 1935-1936.
    \nScrapbook 7\u00a0\u00a0\u00a0 Press clippings, January \u2013 December, 1937.<\/td>\n<\/tr>\n
    Box 117<\/strong><\/td>\nScrapbook 8\u00a0\u00a0\u00a0 Press clippings & programs, January 1938 \u2013 December, 1939.
    \nScrapbook 9 \u00a0\u00a0 Press clippings & programs, January, 1940 \u2013 December, 1940.<\/td>\n<\/tr>\n
    Box 118<\/strong><\/td>\nScrapbook 10\u00a0 Press clippings & programs, January, 1941 \u2013 December, 1941.<\/td>\n<\/tr>\n
    Box 119<\/strong><\/td>\nScrapbook 11\u00a0 Press clippings & programs, January 1942 \u2013 December 1943.<\/td>\n<\/tr>\n
    Box 120<\/strong><\/td>\nScrapbook 12\u00a0 Press clippings & programs, January, 1944\u2013December, 1944.<\/td>\n<\/tr>\n
    Box 121<\/strong><\/td>\nScrapbook 13 Press clippings & programs, November, 1944-December, 1946.<\/td>\n<\/tr>\n
    Box 122<\/strong><\/td>\nScrapbook 14\u00a0 Press clippings & programs, January, 1927-December, 1948.<\/td>\n<\/tr>\n
    Box 123<\/strong><\/td>\nScrapbook 15\u00a0 Press clippings & programs, January, 1949-December, 1952.<\/td>\n<\/tr>\n
    Box 124<\/strong><\/td>\nScrapbook 16\u00a0 Press clippings & programs, January, 1953-December, 1954.<\/td>\n<\/tr>\n
    Box 125<\/strong><\/td>\nScrapbook 17\u00a0 Press clippings & programs, January 1955 \u2013 May, 1957.<\/td>\n<\/tr>\n
    Box 126<\/strong><\/td>\nScrapbook 18\u00a0 Press clippings & programs, November, 1957 \u2013 January, 1959.<\/td>\n<\/tr>\n
    Box 127<\/strong><\/td>\nScrapbook 19\u00a0 Press clippings & programs, January, 1959 \u2013 November, 1960.<\/td>\n<\/tr>\n
    Box 128<\/strong><\/td>\nScrapbook 20\u00a0 Press clippings & programs, December, 1960 \u2013 August, 1962.
    \nScrapbook 21\u00a0 Press clippings & programs, September, 1962 \u2013 March, 1963.
    \nScrapbook 22\u00a0 Press clippings & programs, March, 1963 \u2013 November, 1963.<\/td>\n<\/tr>\n
    Box 129<\/strong><\/td>\nScrapbook 23\u00a0 Press clippings & programs, February, 1964 \u2013 February, 1965.
    \nScrapbook 24\u00a0 Press clippings & programs, October, 1964 \u2013 June, 1965.
    \nScrapbook 25\u00a0 Press clippings & programs, January, 1966 \u2013 May, 1967.<\/td>\n<\/tr>\n
    Box 130<\/strong><\/td>\nScrapbook 26\u00a0 Record reviews, December, 1956 \u2013 October, 1961.<\/td>\n<\/tr>\n
    Box 131<\/strong><\/td>\nScrapbook 27\u00a0 Record reviews, January, 1962 \u2013 June, 1963.
    \nScrapbook 28\u00a0 Articles from The Etude,<\/em> 1918 \u2013 1924.<\/td>\n<\/tr>\n
    Box 132<\/strong><\/td>\nScrapbook 29\u00a0 Clippings and programs on Merry Mount<\/em>, 1924 \u2013 1932.
    \nScrapbook 30\u00a0 Clippings on RCA recordings of American music, September, 1939 – November, 1944.
    \nScrapbook 31\u00a0 Drawings from an Interlochen art class, 1944.<\/td>\n<\/tr>\n
    Box 133<\/strong><\/td>\nScrapbook 32\u00a0 Hanson\u2019s 25th anniversary celebrations, 1949.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

    <\/a>Sub-series B: Clippings<\/span><\/em><\/p>\n

    [\/vc_column_text][vc_custom_heading text=”Box 68″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607965501278{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
    folder 1<\/strong><\/td>\nOctober, 1906 \u2013 February, 1907.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n1920 \u2013 1929.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\nThe Chautauquan Daily, <\/em>July 28, 1930 \u2013 August 2, 1930.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n1930 \u2013 1939.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\n1940 \u2013 1945.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\n1946 \u2013 1949.<\/td>\n<\/tr>\n
    folder 7<\/strong><\/td>\n1950 \u2013 1959.<\/td>\n<\/tr>\n
    folder 8<\/strong><\/td>\n1960 \u2013 1962.<\/td>\n<\/tr>\n
    folder 9<\/strong><\/td>\n1963 \u2013 1964.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    [\/vc_column_text][vc_custom_heading text=”Box 69″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607965514222{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n
    folder 1<\/strong><\/td>\n1965 \u2013 1969.<\/td>\n<\/tr>\n
    folder 2<\/strong><\/td>\n1970 \u2013 1973.<\/td>\n<\/tr>\n
    folder 3<\/strong><\/td>\n1974.<\/td>\n<\/tr>\n
    folder 4<\/strong><\/td>\n1975 \u2013 1979.<\/td>\n<\/tr>\n
    folder 5<\/strong><\/td>\nPress material lacking dates.<\/td>\n<\/tr>\n
    folder 6<\/strong><\/td>\nPress releases, various.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

    \u2190 HOWARD HANSON COLLECTION: Series 2<\/a><\/p>\n

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

    HOWARD HANSON COLLECTION: Series 5-6 \u2192<\/a><\/p>\n

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

    [vc_row][vc_column][vc_column_text css=”.vc_custom_1607962583013{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”] Series 3: Manuscripts [\/vc_column_text][vc_column_text] Sub-series A: Original compositions [\/vc_column_text][vc_custom_heading text=”Box 26″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1607962629403{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 […]<\/p>\n","protected":false},"author":42,"featured_media":0,"parent":6867,"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-6886","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/6886","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=6886"}],"version-history":[{"count":0,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/6886\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/6867"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=6886"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=6886"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=6886"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}