{"id":7019,"date":"2021-01-05T12:48:48","date_gmt":"2021-01-05T17:48:48","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/sibley\/?page_id=7019"},"modified":"2021-01-05T12:48:48","modified_gmt":"2021-01-05T17:48:48","slug":"ser1-9","status":"publish","type":"page","link":"https:\/\/www.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/wbarlow\/ser1-9\/","title":{"rendered":"WAYNE BARLOW COLLECTION"},"content":{"rendered":"

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

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<\/a>Series 1: Early Works<\/h3>\n

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folder 1<\/strong><\/td>\nThe Dream<\/em>.\u00a0 For voice and piano. Words by A. M. Scruggs.\u00a0 \u2014 May 1931
\nInk MS; 3 pages of music. [Also see box 1\/11.]<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nLakeside Scenes: Descriptive Suite. <\/em>For piano. \u2014 Completed August, 1931
\n[I.]\u00a0 Dawn.\u00a0 Pencil MS; 3 pages of music.
\n1.Surf. Ink MS; 3 pages of music.
\nIII. Clouds. Ink MS; 3 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nNovelette.\u00a0 <\/em>For piano. \u2014 November, 1931
\nInk MS; 3 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nPsalm of Praise<\/em>.\u00a0 Anthem for mixed voices and organ. \u2014 January, 1932
\nText: Psalm 106. Ink MS; 11 pages of music.
\nAccompanied by an MS repro copy of the work in another rendering in WBB\u2019s hand; incomplete.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nRhythmic Study<\/em>.\u00a0 For piano. \u2014 February, 1932
\nInk MS; 4 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSoliloquy<\/em> (Reverie<\/em>). For piano and \u2018cello. \u2014 March, 1932
\nScore (ink MS; 2 pages of music) and \u2018cello part (ink MS; 1 page of music).<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nWaltz. <\/em>For piano. \u2014 March 1932
\nInk MS; 3 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nScherzo<\/em>.\u00a0 For piano. \u2014 March, 1932
\nInk MS; 2 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nPrelude<\/em>.\u00a0 For piano. \u2014 April, 1932
\nInk MS; 2 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nStars<\/em>.\u00a0 For voice and piano. Words by Carl Sandburg \u2014 May, 1932
\nInk MS; 2 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nThe Dream<\/em>. For voice and piano. Words by A. M. Scruggs. \u2014 May, 1932
\nInk MS; 5 pages of music.\u00a0 [See also box 1\/1; the 1932 version has a more elaborate accompaniment than that seen in the May, 1931 manuscript.]<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nTheme and Variations<\/em>\u00a0 In B-flat major. For piano. \u2014 May, 1932
\nInk MS; 13 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nIntermezzo.\u00a0 <\/em>For piano. \u2014 July, 1932
\nInk MS; 4 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nMystic Poem.\u00a0 <\/em>For organ. \u2014 September 7, 1932
\nInk MS; 8 pages of music.
\nLines by William Sharp in ink on the title page.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nFar Sunset<\/em>. For violin and piano. For Pat Kinney. \u2014 December, 1932
\nScore (ink MS; 4 pages of music) and violin part (ink MS; 2 pages of music).
\nWords of William Sharp added as an epigraph on the first page of music of the score.
\nAccompanied by negative photostatic copies of both the score and the violin part.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nLands<\/em>.\u00a0 For baritone with piano. Words by James E. Warren, Jr. \u2014 [1932]
\nInk MS; 5 pages of music.
\nYear of composition lightly pencilled on title page in (discernibly) WBB\u2019s hand.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nGrotesque March<\/em>.\u00a0 For piano. \u2014 January, 1933
\nInk MS; 3 pages of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nNocturne.\u00a0 <\/em>For piano. \u2014 February, 1933
\nInk MS; 2 pages of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nThe Valley of Silence<\/em>. Song. Words by William Sharp. \u2014 April 11, 1933
\nInk MS; 4 pages of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nChoral Meditation.\u00a0 <\/em>For organ. \u2014 April, 1933
\nInk MS; 2 pages of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nThe Hills<\/em>.\u00a0 Song. Text unattributed. \u2014 August, 1933
\nInk MS; 2 pages of music. Accompanied by a vocal part (ink MS; 1 page).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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<\/a>Series 2: Dramatic Works<\/h3>\n

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folder 22<\/strong><\/td>\nFalse Faces<\/em>.\u00a0 Choral ballet in a prologue and two scenes. Concert version. Story by Leone Coffer. \u2014 1935
\nMS repro score; 56 pages of music. Bears pencilled performance markings.
\n\u201cPresented as a thesis for the Degree Master of Music, June, 1935.\u201d\u2014on title page.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nThree Moods for Dancing<\/em>. \u2014 [1940]
\nFor orchestra. Movements are: I.\u00a0 Neo Classic, II.\u00a0 Impressionist, III.\u00a0 Cubist.
\nInk MS of I, Neo-Classic (6 pages of music).
\nPencil sketch of the three movements (5, 4, 4 pages of music).
\nOzalid masters of the parts for strings.
\nCf. Box 12\/1 (Oversized) for the MS full score (47 pp.), used for conducting.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nThree Moods for Dancing<\/em>. \u00a0Orchestral parts (1\/2).
\nFor orchestra. Movements are: I.\u00a0 Neo Classic, II.\u00a0 Impressionist, III.\u00a0 Cubist.
\nMS repro parts for strings: vn I.\u00a0 13, vn II.\u00a0 10, va.\u00a0 7, cello.\u00a0 8, bass.\u00a0 5 ; part for snare drum, bass drum,\u00a0 cymbals, suspended cymbals, & xylophone.\u00a0 2, harp.\u00a0 4.
\nMost of the parts bear performance markings in pencil. Some of the vn, va and cello parts lack certain pages.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nThree Moods for Dancing<\/em>. \u00a0Orchestral parts (2\/2).
\nFor orchestra. Movements are: I.\u00a0 Neo Classic, II.\u00a0 Impressionist, III.\u00a0 Cubist.
\nMS repro parts for woodwinds, brass, percussion, harp, and celeste: flute I, II, piccolo, oboe I, II, English horn, B flat clarinet I, II, bass clarinet , bassoon I, II, contra bassoon.\u00a0 mvt. III only, horn I, II, III, IV, C trumpet I, II, III, trombone I, trombone III.\u00a0 mvt. III only, trombone III.\u00a0 mvt. III only, tuba.\u00a0 mvt. III only, timpani, xylophone, harp, celesta.<\/td>\n<\/tr>\n
folder 26<\/strong><\/td>\nThe Black Madonna. <\/em>A ballet in three scenes, adapted from the play by William Sharp. \u00a0\u2014 December, 1941
\nDescription of the scene, settings, costumes, and dramatis personae (2 pages, typescript).
\nPencil draft (16 pages of music).
\nOzalid piano-vocal score with underlying text (14 pages of music).
\n8 choral scores derived from the Ozalid piano-vocal score (each 7 pages of music).
\nOzalid parts: vn I, vn II, vla, vc, bass, perc (snare drum, bass drum, cymbals, suspended cym., xylophone).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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<\/a>Series 3: Works for Instrumental Ensemble<\/h3>\n

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folder 1<\/strong><\/td>\nDe Profundis. <\/em>Poem for orchestra. \u2014 1934
\nInk MS; 27 pages of music.
\nInk MS; 32 pages of music.
\nPencil sketches; 6 pages of music. Dated January, 1934.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nDe Profundis<\/em>. Poem for orchestra.
\nOzalid masters of the strings parts (vn I, vn II, vla, vc, bass).
\nMS repro orchestral parts:
\nvn I (5), vn II (4), vla (3), vc (2), bass (2), fl I, fl II, ob II\/Engl hn, cl I, cl II, bn I, bn II, F hn II, F hn III, F hn IV, tpt I, tpt II, tbn I, tbn II, tbn III, tuba, timp, tenor drum\/cymbals, bass drum\/tam-tam,<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nThe Winter\u2019s Passed.<\/em> For oboe and strings. \u2014 [1938]
\nMS repro parts (in a copyist\u2019s hand):
\nOboe solo, vn I and solo vn (2), vn I (7), vn II (7), vla (5), vc (4), bass (3).
\nAccompanied by a copy of the published version for oboe with piano accompaniment (copyright 1940 by the Eastman School of Music), itself accompanied by a copy of unsigned program notes (1 page, typescript).<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nLyrical Piece<\/em>. For B-flat clarinet and strings. \u2014 [1943]
\nMaster copy of the score (20 pages of music), together with a negative photostatic copy of same.
\nA hybrid set of parts, comprised of Ozalid masters of the vn I, vn II, and vla parts, a MS copy of the vc part, and a published copy of the solo clarinet part.
\nAccompanied by 5 copies of the Carl Fischer publication of the manifestation for clarinet and piano (CF cat. no. W1917), together with Music Lovers\u2019 Shoppe (Rochester, NY) purchase order for same.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nLento and Allegro<\/em>. For orchestra. \u2014 [1955]
\nOzalid masters of score; 64 pages of music.
\nOzalid masters of string parts: vn I, vn II, vla, vc, bass, cb.
\nMS repro parts: \u00a0fl 1, fl 2, ob 1, ob 2, cl 1, cl 2, bsn 1, bsn 2, hn 1, hn 2, hn 3, hn 4, tpt 1, tpt 2, tbn 1, tbn 2, tbn 3, tuba, timp, perc 1, perc 2 harp.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nNight Song<\/em>. \u2014 For orchestra. 1956
\nOzalid masters of score; 27 pages of music.
\nNegative photostatic copy of the score.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nIntrada, Fugue and Postlude<\/em>. For brass ensemble. \u2014 1959
\nOzalid master score; 31 pages of music. Bears dedicatee\u2019s name in caption, and both the year of completion and year of copyright at foot of first page of music.
\nOzalid master score; 31 pages of music. A different manifestation than the above-cited.
\nOzalid masters of parts: tpt 1, tpt 2, tpt 3, hn 1, hn 2, hn 3, hn 4, tbn 1, tbn 2, tbn 3, bar 1, bar 2, tuba 1 (2), tuba 2 (2).<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nRota<\/em>. For chamber orchestra. \u2014 1959
\nOzalid masters of score; 20 pages of music.
\nOzalid masters of parts: fl, Engl hn, cl, bsn, hn 1, hn 2, tpt 1, tpt 2, vn 1, vn 2, vla, vc, bass.
\nOzalid masters of piano reduction; 2 pages of music.
\nNegative photostatic copy of score, incomplete (19 pages).
\nMS repro copies (2) of the piano reduction; one copy marked by WBB.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nImages.<\/em> For harp and orchestra. \u2014 1961
\nNegative photostatic copy of solo harp part; 18 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nImages.<\/em> For harp and orchestra. \u2014 1961
\nNegative photostatic copy of piano reduction score; 36 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nImages.<\/em> For harp and orchestra. \u2014 1961
\nNegative photostatic copy of piano reduction score; 31 pages of music. [Both the title keyword \u201corchestra\u201d and the copyright year rubbed out on the first page of music, apparently indicating revisions in progress for the 1963 version.]<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nImages.<\/em> For harp and orchestra. \u2014 1961
\nPiano reduction score, first movement only; annotated by Robert Barlow [so identified by Joan Barlow Donat in 2001]; 14 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nImages.<\/em> For harp and orchestra. \u2014 1961
\nPiano reduction score; 36 pages of music. [Cover title \u201cfor harp and instruments\u201d is at variance with the caption title \u201cfor harp and orchestra\u201d.]\u00a0 Bears annotations by a pianist performer.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nImages.<\/em> For harp and orchestra. \u2014 1961
\nOzalid masters of parts: fl, ob, Engl hn, cl 1, cl 2, bsn, hn 1, hn 2, tpt 1, tpt 2, tbn, vn 1, vn 2, vla, vc, bass.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nSinfonia Da Camera<\/em>. \u2014 [1962]
\nOzalid masters of the instrumental parts: vn 1, vn 2, va, vc, bass, fl 1, fl 2, ob 1, ob 2, cl 1, cl 2, bsn 1, bsn 2, hn 1, hn 2, tpt 1, tpt 2, tbn, timp, perc, piano.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nImages.<\/em> For harp and instruments. \u2014 1963
\nMasters (transparent) of score, reduced in size; 83 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nImages.<\/em> For harp and instruments. \u2014 1963
\nNegative photostatic copy of score, generated from a spiral-bound copy; 83 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nImages.<\/em> For harp and instruments. \u2014 1963
\nMasters (transparent) of piano reduction score, at full size; 31 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nImages.<\/em> For harp and instruments. \u2014 1963
\nMasters (transparent) of solo harp part, at full size; 15 pages of music; accompanied by a negative photostatic copy of same. harp part;<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nImages.<\/em> For harp and instruments. \u2014 1963
\nOzalid masters of parts: fl, ob, Engl hn, cl, bsn, hn, tpt, vn 1, vn 2, vla, vc, bass.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nVistas.<\/em> For orchestra. \u2014 1963
\nPencil draft; 43 pages of music. Bears title \u201cQuiet Piece\u201d in caption.
\nNegative photostatic copy of score; 28 pages of music.
\nOzalid masters of parts: vn 1, vn 2, vla, vc, bass, fl 1\/2, cl 1, cl 2, ob\/Engl hn, bsn 1\/2, hn 1\/2, tpt 1\/2, tbn 1\/2, timp\/perc, harp.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nOverture, Hampton Beach<\/em>. For orchestra. \u2014 1971
\nPencil sketches.
\nOzalid masters of parts: vn 1A, vn 1B, vn 2a, vn 2B, vla 1, vla 2, vc 1, vc 2, bass, fl 1, fl 2, ob 1, ob 2, cl 1, cl 2, bsn 1, bsn 2, hn 1, hn 2, hn 3, hn 4, tpt 1, tpt 2, tpt 3, tbn 1, tbn 2, tbn 3, tuba, timp, perc, harp\/celeste.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSoundscapes.<\/em> For orchestra and tape. \u2014 1971
\nOzalid masters of parts: vn 1, vn 2, vla, vc, bass, fl 1, fl 2, ob 1, ob 2, Engl hn, cl 1, cl 2, bass cl, bsn 1, bsn 2, hn in F 1, hn in F 2, hn in F 3, hn in F 4, tpt 1, tpt 2, tpt 3, tbn 1, tbn 2, tuba, timp, harp, perc, tape .<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nDivertissement<\/em>. For flute and chamber orchestra. \u2014 1980
\nPencil sketches.
\nManuscript book with pencil sketches.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nDivertissement<\/em>. \u2014 1980
\nOzalid masters of score; 78 pages of music.
\nOzalid masters of flute\/alto flute part; 6 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nFrontiers<\/em>. For symphonic band. \u2014 1982
\nIn WBB\u2019s hand. Ozalid masters of parts: ob 1\/2, picc 1\/2, fl 1\/2, Engl hn, cl 1\/2, cl 3, alto cl, bass cl, bsn 1\/2, alto sax 1\/2, tenor sax, bari sax, cor 1\/2, cor 3, tpt 1\/2, hn 1\/2, hn 3\/4, tbn 1\/2, tbn 3, bari, tuba 1 in E-flat\/2 in B-flat, timp, perc.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nFrontiers<\/em>. For symphonic band. \u2014 1982
\nIn a copyist\u2019s hand. Ozalid masters of parts: picc 1, picc 2, fl 1, fl 2, ob 1, ob 2, Engl hn, cl 1, cl 2, cl 3, alto cl, bass cl, bsn 1, bsn 2, alto sax 1, alto sax 2, tenor sax, bari sax, bass sax, cor 1, cor 2, cor 3, tpt 1, tpt 2, hn 1, hn 2, hn 3, hn 4, tbn 1, tbn 2, tbn 3 (bass), bari hn, tuba 1, tuba 2, perc.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nRequiem and Alleluia. <\/em>For trombone choir. \u2014 1991
\nTo the memory of Emory Remington.
\nPencil sketches, in MS notebook (title \u201cWinter\u2019s Passed\u201d on cover).
\nInk MS score; 28 pages of music. Loose-leaf.
\nMS repro score, spiral-bound; 28 pages of music.
\nMaster parts (8), labelled \u201cTrombone I\u201d through \u201cTrombone VIII\u201d.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nFanfare for the University of Alabama.<\/em> \u2014 [undated]
\nInk MS; 3 pages of music.
\nInk MS parts tpt 1, tpt 2.
\nMS repro score; 3 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nVariation on a Theme by Hanson.<\/em> For orchestra. \u2014 [undated]
\nPencil MS; 6 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nVariation on a Theme from \u201cThe Musicians of Bremen\u201d by Bernard Rogers. <\/em>For instruments. \u2014 [undated]
\nInk MS parts: piano, vn 1, vn 2, vc, bass, fl, ob, cl, bsn, hn in F, tpt in C, timp, perc.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1609868379934{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: Vocal and Choral Works.<\/h3>\n

[\/vc_column_text][vc_custom_heading text=”Box 4″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609881508647{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 11<\/strong><\/td>\nZion in Exile.<\/em> Cantata. \u2014 1937
\nOzalid masters of parts: vn 1, vn 2, vla, vc, bass.
\nOzalid masters of piano vocal score; 63 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 5″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609881645024{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>\nSongs from \u201cThe Silence of Amor\u201d.<\/em> For soprano voice and orchestra. \u2014 1938
\nPoems by William Sharp.
\nTexts of the three songs (2 pages; typescript).
\nInvoice from City Blue Print Company (May 21, 1952) for generation of prints.
\nOzalid masters of score; 40 pages of music.
\nOzalid masters of piano vocal score; 15 pages of music (in a copyist\u2019s hand).
\nOzalid masters of parts: vn 1, vn 2, vla, vc, bass.
\nInk MS parts (in a copyist\u2019s hand): vn 1, vn 2, vla, vc, fl 1, fl 2\/alto fl, cl 1, cl 2 ob 1, ob 2, bsn 1, bsn 2, hn 1, hn 2, tpt 1 in C, tpt 2 in C, perc, harp (2).
\nInk MS piano vocal score; 14 pages of music, unnumbered.
\nMS repro parts: vn 1 (5), vn 2 (4), vla (3), vc (3), bass (2).
\nPencil sketches.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nLament from Zion in Exile<\/em>. For string quartet, piano, and soprano solo. \u2014 1941
\nMS score; 5 pages of music.
\n\u201cArranged April 27, 1941\u201d\u2014on title page of score.
\nInk MS parts: piano, vn I, vn II, vla I, vla II, vc, bass.
\nOzalid master of piano-vocal score; 4 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nMadrigal for a Bright Morning<\/em>.\u00a0 For SAATB a capella. \u2014 1941
\nText by John R. Slater.
\nMS repro score; 3 pages of music.
\n\u201cMarch 17, 1941\u201d\u2014at end of score.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nThe Twenty-Third Psalm. <\/em>For mixed chorus, organ and orchestra. \u2014 [1944]
\nOzalid masters of the instrumental parts: vn 1, vn 2, va, vc, bass, fl 1, fl 2, ob 1, ob 2, cl 1, cl 2, bsn 1, bsn 2, hn 1, hn 2, tpt 1, tpt 2.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nThree Songs after Shakespeare<\/em>. For soprano with piano. \u2014 1948
\nTexts: From You Have I been absent in the spring (Sonnet XCVIII); Street Vendor\u2019s Song (from The Winter\u2019s Tale<\/em>); Shall I compare thee to a summer\u2019s day? (Sonnet XVIII).
\nOzalid masters of score; 11 pages of music.
\n\u201cApril, 1948\u201d\u2014at end of score.
\nMS repro score; 11 pages of music. \u00a02 copies of same.
\nThree additional MS repro copies of the \u201cStreet Vendor\u2019s Song\u201d; and one MS repro copy of the \u201cStreet Vendor\u2019s Song\u201d and \u201cShall I compare thee\u201d together.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nMass in G<\/em>. \u00a0For chorus and orchestra. \u2014 1951
\nMovements: Kyrie eleison; Gloria in excelsis; Credo; Sanctus; Cantio pro elevatione (for Strings); Agnus Dei.
\nOzalid masters of score; 88 pages of music.
\nOzalid masters of strings parts: vn I, vn II, vla, vc, bass.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nMass in G. <\/em>\u2014 1951
\nNegative masters of piano-vocal score; 58 pages of music. In Kodak Sheet Film<\/strong> box.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nMass in G. <\/em>\u2014 1951
\nSundry additional MS repro pages and pencil sketches.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nPoems for Music. <\/em>Four songs for soprano after poems by Robert Hillyer. \u2014 1956, 1958
\nTexts: Serenade; Madrigal; The Gull; The Starry Music.
\nOzalid masters of score; 16 pages of music.
\nMS repro score (pages 3-13) and two MS repro copies of \u201cMadrigal\u201d.
\nTwo MS repro scores, each reduced in dimensions; one looseleaf and the other spiral-bound.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nPoems for Music. <\/em>Four songs for soprano after poems by Robert Hillyer. \u2014 1956, 1958
\nOzalid masters of the instrumental parts: fl 1, fl 2, ob 1, ob 2, cl 1, cl 2, bsn 1, bsn 2, hn 1, hn 2, tpt 1, tpt 2, tbn, perc, timp, harp, vn 1, vn 2, va, vc, bass.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nWe All Believe in One True God.<\/em> For choir, organ, and brass quartet ad libitum. \u2014 1965
\nWords by Tobias Clausnitzer, 1668; translated by Catherine Winkworth.
\nFor Hans Vigeland.
\nCopyright 1968 by Wayne Barlow, Rochester, N.Y. U.S.A.
\nPrinted score; 16 pages of music. Two copies of same. Printed under the agency of Allied Print, Inc. (Rochester, NY).
\nOzalid masters of brass parts: tpt I, tpt II, tbn I, tbn II.
\nMS repro copies of brass parts: tpt I, tpt II, tbn I (marked \u201cHorn\u201d in pencil), tbn (numeric designation marked out); accompanied by a MS part in WBB\u2019s hand for horn in F.
\nPencil draft; 13 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nThe Woodpecker with Long Ears<\/em>. \u00a0For voices, piano, and tape. \u2014 [1966]
\nPoem by Tom Robinson.
\nTexts of poems \u201cThe Woodpecker\u201d by Elizabeth Madox Roberts, and, \u201cThe Woodpecker with Long Ears\u201d by Tom Robinson (1 page, typescript).
\nPencil sketch; 4 pages of music.
\nOzalid masters of score; 4 pages of music.
\nMS repro score; 4 pages of music. Three copies of same<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 6″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1610030137552{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>\nWait for the Promise of the Father. <\/em>\u00a0For soloists, chorus, organ, and orchestra. \u2014 1968
\nMovements:<\/p>\n

I. Wait for the Promise
\nII. When the Day of Pentecost
\nIII. Men of Judea
\nIV. And in the Last Days
\nV. And Peter Said to Them, \u201cRepent . . .\u201d
\nVI. I Keep the Lord
\nVII. Blessed Be the God and Father
\nVIII. But False Prophets
\nIX. But the Day of the Lord
\nX. All Flesh is Like Grass<\/p>\n

MS repro score; 115 pages of music.\u00a0 The vocal lines pasted onto the leaves of MS paper. \u201cOct. 1968\u201d\u2014at end of score.
\nMS repro score; 82 pages of music. The vocal lines pasted onto the leaves of MS paper.<\/p>\n<\/td>\n<\/tr>\n

folder 2<\/strong><\/td>\nWait for the Promise of the Father. <\/em>\u2014 1968
\nOzalid masters of orchestral parts: fl, ob, cl, bsn, hn, org, vn I, vn II, vla, vc, bass.
\nNegative-polarity repro of the vocal score, incomplete; pages 3-35.
\nOzalid masters of score; 82 pages of music. Image now severely faded.
\nSundry additional pages, including a master copy of the assembled texts.
\n\u201cCopyright 1969 by Wayne Barlow\u201d\u2014on first page of music of the vocal score.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nVoices of Faith.<\/em> For soprano solo, narrator, mixed chorus, and orchestra. \u2014 1974
\n\u201cCommissioned by the Augusta Symphony Orchestra for the observance of the nation\u2019s Bicentennial 1976\u201d\u2014on title page of vocal score.
\nOzalid masters of orchestral parts: vn 1, vn 2, vla, vc, bass, fl 1, fl 2, ob 1-2, bsn 1-2, cl 1-2, hn 1-3, hn 2-4, tbn 1-2, tbn 3\/tuba, tpt 1-2, timp\/perc, harp.
\nInk MS vocal score; 42 pages of music.
\n\u201cCopyright 1975 by Wayne Barlow\u201d\u2014on first page of vocal score.
\nCopies of the composer\u2019s program notes (1 page, typescript) and by copies of the texts set within the work (4 pages, typescript).
\nTwo manuscript books, each spiral-bound, containing pencil sketches for this composition.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nVoices of Darkness<\/em>. For reader, piano, percussion, and magnetic tape. \u2014 1974
\n\u201cFor Sidney Hodkinson and the Musica Nova of the Eastman School of Music\u201d\u2014on first page of music in the score.
\n\u201cNovember, 1974. Rochester, N.Y.\u201d\u2014at end of score.
\nMovements: Antigone (Jean Cocteau); The Sphinx (Jean Cocteau); Medea (Robinson Jeffers).
\nCopies of the composer\u2019s program notes (1 page, typescript).
\nComposer\u2019s performance notes (1 page, typescript).
\nOzalid masters of the score; 54 pages of music.
\nMS repro score; 2 copies, each spiral-bound.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 7″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1610030187536{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>\nWhat Wondrous Love.<\/em> For mixed voices, piano or organ, and guitar. \u2014 1976
\nEarly American hymn, arranged by WBB.
\n\u201cTo the Choir of St. Thomas\u2019 Episcopal Churchk, Rochester, N.Y.\u201d\u2014on first page of music.
\nOzalid masters of score; 4 pages of music.
\nMS repro score, annotated with guitar chords.
\nNumerous MS repro scores in octavo dimensions for choral use.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nA Bicentennial Celebration Service<\/em>. \u2014 [1976]
\nMovements: (1) Processional, \u201cHow Firm a Foundation\u201d (Early American); (2) Gloria in excelsis, \u201cMass on Shaker Hymns\u201d (Barlow); (3) Gradual, \u201cLet Us Break Bread Together\u201d (Spiritual); (4) Sermon hymn, \u201cIn Christ There is no East or West\u201d; Offertory Anthem, \u201cWhat Wondrous Love\u201d (arr. Barlow); Doxology; (6) Sanctus, \u201cMass on Shaker Hymns\u201d (Barlow); (7), (8), (9), Communion hymns; (10), Recessional, \u201cGlorious Things of Thee are Spoken\u201d (Early American).
\nWBB\u2019s notes (1 page, typescript).
\nOrder of service, citing the individual selections (1 page, typescript).
\nOne compilation of the various musical selections in sequence, stapled.
\nPhotocopies of two of the hymn settings.
\nAccompanied by a copy of a parish service bulletin (Sunday, February 15, 1976) documenting use of this music in a celebration of the Eucharist.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nOut of the Cradle Endlessly Rocking. <\/em>For chamber chorus, tenor solo, clarinet, viola, piano, and tape. \u2014 1978
\nText by Walt Whitman.
\nMS repro score; 62 pages of music. The piano and vocal lines pasted onto the leaves of MS paper.
\nOzalid masters of piano-vocal score; 29 pages of music.
\nMS repro piano-vocal score.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nOut of the Cradle Endlessly Rocking.<\/em> \u2014 1978
\nOzalid masters of instrumental parts: B-flat cl, vla.
\nMS repro copies of instrumental parts.
\nManuscript book marked \u201cCradle\u201d containing pencil sketches.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nThe Seven Seals of Revelation. <\/em>\u2014 1989
\n\u201cCommissioned by and dedicated to Brevard Music Center, Brevard, North Carolina 1989\u201d\u2014on cover of vocal score.
\nCopy of the text (3 pages, typescript).
\nInk MS vocal score; 45 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nThe Seven Seals of Revelation.<\/em> \u2014 1989
\nInk MS instrumental parts: vn I, vn II (pages 1-2 lacking), vla, bass (pages 1-2 lacking), fl II, cl I, cl II, ob I (pages 3-4 lacking), ob II, bsn I, bsn II, hn I, hn II, hn III, hn IV, tpt I, tpt II, tbn I, tbn II, tbn III, tuba, timp, perc.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nThe Seven Seals of Revelation.<\/em> \u2014 1989
\nManuscript book containing pencil sketches.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nSt. Thomas Amen<\/em>. For mixed voices a capella. \u2014 [undated]
\nNumerous copies of MS repro score; apparently generated for ensemble use. (WBB\u2019s own use is indicated by marking on one copy, which on its verso bears the words in WBB\u2019s hand: \u201cAll together now \u2014 on the upbeat.\u201d)<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nThe Lord is in His Holy Temple.<\/em> For mixed voices and keyboard. \u2014 [undated]
\nMS repro score; 2 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nAll Things Come of Thee.<\/em> For mixed voices and keyboard. \u2014 [undated]
\nMS repro score; 2 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nThe Truth from Above<\/em>. For mixed voices, piano or organ, and guitar. \u2014 [undated]
\nEarly English; arranged by WBB.
\n\u201cTo the Choir of St. Thomas\u2019 Episcopal Church, Rochester, N.Y.\u201d\u2014At head of score.
\nMS repro score; 4 pages of music.
\nAccompanied by one copy bearing WBB\u2019s handwritten additions.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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<\/a>Series 5: Chamber Works.<\/h3>\n

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folder 1<\/strong><\/td>\nString Quartette<\/em>. \u2014 [presumably between 1934 and 1937]
\n\u201cPost-graduate\u201d\u2014on score.
\nInk MS score; 15 pages of music.
\nInk MS parts: vn I, vn II, va, vc.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nPrelude, Air and Variation.<\/em> For bassoon, string quartet and piano. \u2014 1947
\nOzalid masters of parts: vn I, vn II, va, vc, bsn, piano.
\nMS repro parts: vn I, vn II, va, vc, bsn, piano.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nPrelude, Air and Variation.<\/em> For bassoon, string quartet and piano. \u2014 1947
\nMS repro score; 33 pages of music. 2 copies, each looseleaf.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nPrelude, Air and Variation.<\/em> For bassoon, string quartet and piano. \u2014 1947
\nOne complete performance set: MS repro score, hardbound plus five parts.
\nAdditional copy of the MS repro score, hardbound.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nQuintet for Piano and Strings.\u00a0<\/em>\u2014 1951
\nOzalid masters of score (61 pages of music) and parts (vn 1, vn 2, va, vc).<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nQuintet for Piano and Strings. <\/em>\u2014 1951
\nMS repro parts (vn 1, vn 2, va, vc): two sets of the same impression.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nQuintet for Piano and Strings. <\/em>\u2014 1951MS repro score; 61 pages of music. One spiral-bound; the other looseleaf within a hardboard cover.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nTriptych.<\/em> For string quartet. \u2014 1953
\nOzalid masters of score (pages 2-22, incomplete; page 1 lacking) and parts (vn 1, vn 2, va, vc). Accompanied by ozalid masters of a bass part.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nTriptych.<\/em> For string quartet. \u2014 1953
\nMS repro parts: vn 1, vn 2, va, vc.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nTriptych.<\/em> For string quartet. \u2014 1953
\nMS repro score; 22 pages of music. Three copies, one of which is spiral-bound.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nImages for Harp, Clarinet, and String Quartet.\u00a0<\/em>\u2014 1963
\nOzalid masters of score (53 pages of music) and parts (cl, vn 1, vn 2, va, vc).<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nImages for Harp, Clarinet, and String Quartet.\u00a0<\/em>\u2014 1963
\nMS repro score (53 pages of music). Two copies, each bound with tape.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nImages for Harp, Clarinet, and String Quartet. <\/em>\u2014 1963
\nMS repro score, spiral-bound and parts at reduced dimensions.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nTrio for Oboe, Viola and Piano. <\/em>\u2014 1964
\n\u201cFor Robert Sprenkle, Francis Tursi, and Armand Basile\u201d\u2014on first page of score.
\nOzalid masters of score (40 pages of music) and parts (ob, va).<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nTrio for Oboe, Viola and Piano.<\/em> \u2014 1964
\nMS repro parts. Two sets, one of which bears performance markings.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nTrio for Oboe, Viola and Piano.<\/em> \u2014 1964
\nThree copies of the MS repro score. Two copies at 40 pages of music, each spiral-bound, one of which is in the dimensions of a perusal copy. The third copy at 39 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nElegy for Viola and Orchestra.<\/em> \u2014 1968
\nOzalid masters of the score; 34 pages of music.
\nOzalid masters of instrumental parts: vn 1, vn 2, va, vc, bass, fl 1-2, ob 1-2 (Engl hn), cl 1-2 (bass cl), bsn 1-2, hn 1-2, tpt 1-2, tbn 1-2, tbn 3\/tuba, timp, perc, harp.
\nOzalid masters of the piano reduction score; 11 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nElegy for Viola and Orchestra<\/em>. \u2014 1968
\nMS repro piano reduction score; 11 pages of music. Two copies, of which bears pencilled markings apparently in WBB\u2019s hand.
\nPencil sketches.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nDuo for Harp and Tape. <\/em>\u2014 1971
\n\u201cFor Robert Barlow\u201d\u2014at head of score.
\n\u201cRochester, N.Y. Feb. 4, 1971\u201d\u2014at end of score.
\nOzalid masters of score; 19 pages of music. The composer\u2019s performance notes precede page 1.
\nAccompanied by a second set of Ozalid masters, also in WBB\u2019s hand and also comprised of 19 pages of music, but representing an altogether different rendering of the musical text.
\nMS repro score; two copies.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 10″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1610030315992{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>\nVocalise and Canon.<\/em>\u00a0 For tuba and piano. \u2014 1976
\nMS repro score (4 pages of music) and tuba part for the Vocalise. Two copies of the score present.
\nMS repro score (6 pages of music) of the Canon. Two copies present.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nIntermezzo for Viola and Harp.<\/em> \u2014 1980
\n\u201cFor the New York State Music Teachers Association 1980\u201d\u2014at head of score.
\nOzalid masters of the score (11 pages of music) and viola part.
\nMS repro score; two copies.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSonatina for Four.<\/em> For flute, clarinet, violoncello, and harp. \u2014 1984
\nOzalid masters of the score; 32 pages of music.
\nTwo MS repro copies of the score, each spiral-bound within boards.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nMeditation on the Agnus Dei.<\/em>\u00a0 \u00a0[Based on the final movement of the Mass in G.]
\nFor string quintet. \u2014 [undated]
\nInk MS score; 15 pages of music.
\nOzalid masters of parts: vn I, vn II, va, vc, bass.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1609868454969{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 6: Keyboard Works<\/h3>\n

[\/vc_column_text][vc_custom_heading text=”Box 10″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1610030315992{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 5<\/strong><\/td>\nSonata for Piano.<\/em> (20-page variant.) \u2014 1947
\nN.B. This variant of the score is an autograph MS.<\/span>
\nOzalid masters of the score; 20 pages of music.
\nMS repro score. Three copies, two of which are bound within boards.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSonata for Piano. <\/em>\u00a0(24-page variant.) \u2014 1947
\nN.B. This variant of the score is a copyist\u2019s MS.<\/span>
\nTwo MS repro copies of the score, each looseleaf.
\nTwo MS repro copies of the score, each spiral-bound.
\nOne MS repro copy of the score, enlarged to 11 x 14\u201d.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nDynamisms for Two Pianos. <\/em>\u2014 1966
\n\u201cTo Yarbrough and Cowan, Duo-Pianists\u201d\u2014following title page of the score.
\n\u201cDecember, 1966. Rochester, N.Y.\u201d\u2014at end of the score.
\nOzalid masters of the score; 25 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nDynamisms for Two Pianos. <\/em>\u2014 1966
\nFour MS repro copies of the score: one perusal copy (8 x 9 in.), spiral-bound; one looseleaf copy (8.5 x 11 in.); two stapled copies (each 11 x 14 in.).<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nPrelude in E.\u00a0 <\/em>For piano. \u2014 [presumably 1968]
\n\u201cFor James Zaccaria\u201d\u2014at head of score.
\nOzalid masters of the score; 2 pages of music.
\nMS repro copy of the score.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nInvention in A. <\/em>\u00a0For piano. \u2014 1968
\n\u201cFor James Zaccaria\u201d\u2014at head of score.
\n\u201cWayne Barlow. June, 1968\u201d\u2014at end of score.
\nOzalid masters of the score; 2 pages of music.
\nMS repro copy of the score.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 11″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1610030402809{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>\nWedding Processional. <\/em>For organ. \u2014 [undated]
\nOzalid masters; 3 pages of music.
\nMS repro copy of the score.
\nAdditional copy mounted on cardstock, presumably used by WBB at the organ console.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1609868546705{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 7: Publications for Liturgical Use<\/h3>\n

[\/vc_column_text][vc_custom_heading text=”Box 11″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1610030402809{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 2<\/strong><\/td>\nThree Christmas Tunes<\/em>. Arranged for organ by Wayne Barlow. St. Louis: Concordia, c1960.
\nContents: Joseph, Dearest (14th-century German folk song); Voici Le No\u00ebl (Old French folk song); Veni, Immanuel (Latin Advent hymn).<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nFour Chorale Voluntaries. <\/em>Settings by Wayne Barlow. St. Louis: Concordia, c1981.
\nContents: Come, Follow Me, the Savior Spake (Machs mit mir, Gott); Sing Praise to God, the Highest Good (Lobt Gott den Herren, ihr); My Soul, Now Praise Your Maker (Nun lob, mein Seel); Creator Spirit, by Whose Aid (All Ehr und Lob).\u00a0 Four copies, accompanied by a looseleaf repro copy.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nVoluntaries on the Hymn of the Week, <\/em>Part 1: Advent to Transfiguration. St. Louis: Concordia, c1963. \u00a0Three copies, two of which bear WBB\u2019s pencilled markings.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nVoluntaries on the Hymn of the Week, <\/em>Part 2: Septuagesima to Good Friday. St. Louis: Concordia, c1964.\u00a0 Two copies, each of which bears WBB\u2019s pencilled markings.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nVoluntaries on the Hymn of the Week, <\/em>Part 3: Easter to Trinity Sunday. St. Louis: Concordia, c1966.\u00a0 Two bound copies, each of which bears WBB\u2019s markings, and an unbound, looseleaf copy.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nOzalid masters of the settings that were published in:\u00a0 Voluntaries on the Hymn of\u00a0 <\/em>the Week, <\/em>Part 3.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nMS repro copies of the settings that were published in:\u00a0 Voluntaries on the Hymn <\/em>of the Week,<\/em> Part 4. \u00a0Two sets, one at 8.5 x 11\u201d and the other at 9.5 and 12.5\u201d.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 14″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1610031840502{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
Missa Sancti Thomae<\/em>. For voices in unison. \u2014 1963
\n\u201cTo the memory of Lyndol Mitchell.\u201d
\nCopyright 1963 by The H. W. Gray Co., Inc. 29 copies.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1609868529169{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 8: Sketches and Miscellanea<\/h3>\n

[\/vc_column_text][vc_custom_heading text=”Box 11″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1610031912623{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 9<\/strong><\/td>\nPencil sketches for various of the settings that were published as Voluntaries on <\/em>the Hymn of the Week.<\/em><\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nPortuguese Christmas Carol<\/em>. Arranged by Wayne Barlow.
\nInk MS; 2 pages of music. With MS repro copies.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nTwo hymn settings: Come, Risen Lord; and, For All Your Saints. (Each is also identified by its number in The Hymnal 1940<\/em>.)
\nPencil MS; 3 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nSarabande<\/em>. In four voices.
\nPencil MS; 4 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nHoly Manna.<\/em>\u00a0 For flute, clarinet, and string quartet.
\nPencil MS; 5 pages of music (incomplete).<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nUntitled. For organ.
\nInk MS; 1 page of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nMusic from The Sacred Harp.
\n<\/em>Pencil MS; 1 page of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nVarious pencil sketches, MS repro copies, and Ozalid masters, most of which are entirely unidentified as to title, date, and occasion of writing.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nTwo spiral-bound manuscript notebooks containing pencil sketches; one marked \u201cVariations\u201d on its cover; the other marked \u201cSonatina for Four\u201d.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nOne bound manuscript book containing pencilled counterpoint exercises, and also pencilled sketches for compositions bearing the following titles: Choral Fantasia for Organ; Fugue; Fugue for Organ; Divertimento II; Intermezzo; Divertimento [for] Piano.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1609868513024{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 9: Oversized<\/h3>\n

[\/vc_column_text][vc_custom_heading text=”Box 12″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1610031956879{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>\nThree Moods for Dancing. <\/em>\u2014 1940
\n\u201cTo Thelma Biracree\u201d\u2014at head of score.
\nInk MS score; 47 pages of music, unnumbered.
\nBears conductor\u2019s performance markings.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nPoems for Music.<\/em> \u2014 1958
\nOzalid masters of score; 55 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nFrontiers.<\/em> For symphonic band. \u2014 rev. 1985
\n\u201cFor Jamie Hafner and the Transylvania Symphonic Band, Brevard Music Center\u201d\u2014at head of score.
\nOzalid masters of score; 36 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nMass in G. <\/em>\u2014 1951
\nOzalid masters of score; 85 pages of music.
\nAccompanied by WBB\u2019s notes on writing this work (1 page, typescript).<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nZion in Exile<\/em>. Cantata for soprano, tenor, baritone and bass soli, mixed chorus and orchestra. \u2014 1937
\nThe text from the Old Testament.
\n\u201cPresented as thesis requirement for the degree Doctor of Philosophy in Music, the Eastman School of Music of the University of Rochester, Rochester, New York. June, 1937\u201d\u2014on title page of score.
\n\u201cTHE END — completed March 23, 1937 Wayne B. Barlow\u201d\u2014at end of score.
\nOzalid masters of score; 120 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSinfonia da Camera.<\/em> \u2014 [1962]
\nOzalid masters of score; 72 pages of music (incomplete).
\nMS repro score; 87 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nVoices of Faith. <\/em>For soprano solo, narrator, mixed chorus, and orchestra. \u2014 1976
\n\u201cCommissioned by the Augusta Symphony Orchestra for the observance of the nation\u2019s Bicentennial 1976\u201d\u2014on title page of score.
\nMovements:\u00a0 to [sic] the hills;\u00a0 The Mayflower Compact;\u00a0 Verses Descriptive of New England;\u00a0 Contemplations;\u00a0 Make Yee a Joyfull Noise.
\nOzalid masters of score; 47 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nThe Twenty-third Psalm<\/em>. For tenor soloist, mixed chorus, and orchestra. \u2014 [1944]
\nOzalid masters of score; 17 pages of music.
\nOzalid masters of instrumental parts: vn 1, vn 2, va, vc, bass, fl 1, fl 2, ob 1, ob 2, cl 1, cl 2, bn 1, bn 2, hn 1, hn 2, tpt 1, tpt 2.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nOverture, Hampton Beach<\/em>. For orchestra. \u2014 1971
\n\u201cCommissioned by Alfred University for the opening of McLean Physical Education Center and performed by the Rochester Philharmonic Orchestra, Samuel Jones conducting, September 19, 1971.\u201d\u2014on cover of score.
\nVerses by John Greenleaf Whittier on cover of score (first line: The sunlight glitters keen and bright).
\nOzalid masters of the score; 27 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 13″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1610031984088{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nVistas. <\/em>For orchestra. \u2014 1963
\n\u201cCommissioned by and dedicated to Edward Benjamin\u201d\u2014at head of score.
\nOzalid masters of the score; 28 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSonata for Piano. <\/em>\u2014 1947
\nCamera-ready masters of the 24-page variant.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSoundscapes for Orchestra and Tape.<\/em> \u2014 1971
\n\u201cWritten for the commemoration of the Fiftieth Anniversary of the Eastman School of Music and dedicated to Walter Hendl\u201d\u2014preceding the first page of music.
\nMovements: Mists; Clouds; Constellations; Sunbursts.
\nOzalid masters of the score; 49 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nThe Seven Seals of Revelation.<\/em> For mixed chorus and orchestra. \u2014 1989
\n\u201cFor Henry Janiec \/ Commissioned by and dedicated to Brevard Music Center, Brevard, North Carolina\u201d\u2014on cover of score.
\nInk MS score; 126 pages of music. The vocal lines pasted onto the leaves of MS paper.
\nMS repro score; pages 5-126 (incomplete).<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nImages for Harp and Instruments.<\/em> \u2014 1963
\n\u201cTo Robert Barlow\u201d\u2014at head of score.
\nOzalid masters of the score; 83 pages of music.
\nMS repro piano reduction score, spiral-bound; 31 pages of music. Two copies.<\/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 WAYNE BARLOW COLLECTION<\/a><\/p>\n

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

WAYNE BARLOW COLLECTION: Sub-group II\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_1611849024500{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: 20px !important;padding-left: 0px !important;}”] SUB-GROUP I: MANUSCRIPTS [\/vc_column_text][vc_column_text css=”.vc_custom_1609868259621{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”] Series 1: Early Works [\/vc_column_text][vc_custom_heading text=”Box 1″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1609868580463{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: […]<\/p>\n","protected":false},"author":42,"featured_media":0,"parent":7011,"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-7019","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/7019","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=7019"}],"version-history":[{"count":0,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/7019\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/7011"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=7019"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=7019"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=7019"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}