Box 1
| folder 1 | W1. Motion Picture Incidental Music. Op. 1. For piano or organ solo. Ink MS, bound. 108 pages of music. |
| folder 2 | W2. Under Western Skies. Op. 1, no. 45a. For full orchestra. Ink MS, bound. 12 pages of music. |
| folder 3 | W3. Evanston High Song. Op. 2. For voice and piano. Ink MS, bound. 2 pages of music |
| folder 4 | W4. An Ocean Rhapsody. Op. 3. For piano solo. Ink MS, bound. 12 pages of music. |
| folder 5 | W5. Christmas Bells. Op. 4. For voice and piano. Ink MS, bound. 1 page of music. |
| folder 6 | W6. All Things Bright and Beautiful. Op. 5. Ink MS, bound. For SATB and piano accompaniment. 3 pages of music. |
| folder 7 | W7. Saw You Never in the Twilight. Op. 6. Ink MS, bound. For voice and piano or organ accompaniment. 2 pages of music. |
| folder 8 | W9. Legend Suite. Op. 7. For piano solo. Ink MS, bound. 5 pages of music. |
| folder 9 | W10. Nocturne in D Major. Op. 8. For piano solo. Ink MS, bound. 4 pages of music. |
| folder 10 | W11. Snowflakes – A Caprice. Op. 9. For piano solo. Ink MS, bound. 3 pages of music. |
| folder 11 | W12. Prélude – To Spring. Op. 10. For full orchestra. Ink MS, bound. 16 pages of music Accompanied by composer’s program notes in ink and typescript, 1 page. |
| folder 12 | W12. Prelude—To Spring, Op 10. For full orchestra. Instrumental parts: flute, oboe, clarinet (2), bassoon, horn (2), timpani, harp, piano, solo violin, and strings. Manuscript in ink and pencil. 25 pp. of music. |
| folder 13 | W13. Mountain Sketches. Op. 11. For full orchestra. Ink MS, bound. 21 pages of music. Accompanied by composer’s program notes in ink, 1 page. Also accompanied by color illustration, 1 page. |
| folder 14 | W14. Suite of Dance. Op. 12. For piano solo. Ink MS, bound. 6 pages of music. |
| folder 15 | W15. Gavotte, Op. 12, no. 2a. For full orchestra. Instrumental parts: flute (4), oboe (2), clarinet (2), bassoon (2), horn (4), trumpet (2), trombone (3), tuba, percussion, strings. Manuscript in pencil. 25 pp. of music. |
| folder 16 | W15. Gavotte, Op. 12, no. 2a. For full orchestra. Instrumental parts: flute (4), oboe (2), clarinet (2), bassoon (2), horn (4), trumpet (2), trombone (3), tuba, percussion, strings. Manuscript in pencil. 25 pp. of music. |
| folder 17 | W16. Badinage—A Caprice. Op. 13. For full orchestra. Instrumental parts: flute (4), oboe, clarinet (2), bassoon, horn (4), trumpet (2), trombone (3), tuba, percussion, strings. Manuscript in pencil. 41 pp. of music. |
| folder 18 | W17. Suite of Inventions. Op. 14. For piano solo. Ink MS, bound. 6 pages of music. |
| folder 19 | W18. Pierrot. Op. 15. For voice and piano accompaniment. Words by Sara Teasdale. Ink MS, bound. 3 pages of music. |
| folder 20 | W19. Theme with Variations. Op. 16. For piano solo. Ink MS, bound. 4 pages of music. |
| folder 21 | W20. Sonata in C Minor. Op. 17. For piano solo. Ink MS, bound. 14 pages of music. |
| folder 22 | W22. Senior Class Song of ’32. Op. 18. For voice and keyboard accompaniment. Printed copy extracted from Evanston Town High School Senior Year Book 1932. 1 page of music. Accompanied by W24/Op. 18b. Arrangement for mixed voices – a capella. Ink MS. 2 pages of music. |
| folder 23 | W25. The Lotus-Eaters: A Symphonic Poem for Orchestra. Op. 19. After the poem by Alfred Lord Tennyson. For full orchestra. Ink MS, bound. 30 pages of music. Accompanied by composer’s program notes in ink, 1 page. Also accompanied by Tennyson’s poem in typescript, 1 page. Also accompanied by black-and-white color illustration, 1 page. |
| folder 24 | W25. The Lotus-Eaters: A Symphonic Poem for Orchestra. Op. 19. After the poem by Alfred Lord Tennyson. For full orchestra. Ink MS, bound. 30 pages of music. Accompanied by composer’s program notes in ink, 1 page. Also accompanied by Tennyson’s poem in typescript, 1 page. Also accompanied by black-and-white color illustration, 1 page. |
Box 2
| folder 1 | W26. Poeme. Op. 20. Dedicated to Muriel Joyce Reeves. For piano solo. Ink MS with red colored-pencil annotations, bound. 5 pages of music. |
| folder 2 | W27. Poeme, Op. 20a (score reads Op. 20b). For violin, cello, and harp. Instrumental parts. Manuscript in ink. 5 pp. of music. |
| folder 3 | W28. Suite pour Harpe. Op. 21. Dedicated to Henry J. Williams. For harp solo. Ink MS, bound. 11 pages of music. |
| folder 4 | W30. The Painted Desert. Op. 22. For full orchestra. Ink MS, bound. 74 pages of music. Accompanied by 1 color illustration and 1 black-and-white illustration, 2 pages total. |
| folder 5 | W30. The Painted Desert, Op. 22. For full orchestra. Instrumental parts. Manuscript in ink with pencil annotations, Manuscript facsimile with pencil annotations. |
| folder 6 | W30. The Painted Desert, Op. 22. For strings. Instrumental parts. Ozalid manuscript. 27 pp. of music. |
| folder 7 | W31. Four Nocturnes. Op. 23. For voice and keyboard accompaniment. When Moonlight Falls, no. 1; The Unknown God, no. 2; A White Blossom, no. 3; The Moon, no. 4. Ink MS with red colored-pencil annotations, bound. 16 pages of music |
| folder 8 | [W36–39]. Four Nocturnes. Op. 23, nos. 1b–4b (score reads Op. 23a). Arranged by Vail Read for two sopranos and alto with piano accompaniment. When Moonlight Falls, no. 1; The Unknown God, no. 2; A White Blossom, no. 3; The Moon, no. 4. Ink MS, bound. 18 pages of music. |
| folder 9 | W37. The Unknown God, Op. 23, no. 2b (score reads erroneously Op. 23, no. 2a). For three-part women’s chorus (SSA). Score. Ozalid manuscript. 7 pp. of music. |
| folder 10 | W40. Four Nocturnes, Op. 23b (score reads Op. 23). For contralto and chamber orchestra. Score. Ozalid manuscript. 27 pp. of music. |
| folder 11 | W40. Four Nocturnes, Op. 23b (score reads Op. 23). For contralto and chamber orchestra. Score. Ozalid manuscript. 27 pp. of music. |
| folder 12 | W41. Scherzino. Op. 24. For woodwind quintet. MS repro with red colored-pencil annotations, bound. 12 pages of music. |
| folder 13 | W41. Scherzino, Op. 24. For woodwind quintet. Instrumental parts. Ozalid manuscript. 10 pp. of music. |
| folder 14 | W42. Soliloquy. Op. 25. For piano solo. Ink MS, bound. 4 pages of music. |
| folder 15 | W43. Sketches of the City. Op. 26. For full orchestra. After poems by Carl Sandburg. Ink MS with red and blue colored-pencil annotations, bound. 49 pages of music. Accompanied by composer’s program notes in typescript, 1 page. Also accompanied by ink illustrations, 4 pages. Also accompanied by Sandburg poems in ink, 3 pages. |
| folder 16 | W43. Sketches of the City, Op. 26. For full orchestra. Instrumental parts: piccolo, flutes I and II, alto flute, oboes I and II, English horn, clarinets I and II, bass clarinet, bassoons I and II, horns I, II, and III, trumpets I, II, and III, trombones I, II, and III, tuba, percussion, celesta, harps I and II. Manuscript in ink. 78 pp. of music. |
Box 3
| folder 1 | W43. Sketches of the City, Op. 26. For full orchestra. Instrumental parts: piccolo, flutes I and II, alto flute, oboes I and II, English horn, clarinets I and II, bass clarinet, bassoons I and II, horns I, II, and III, trumpets I, II, and III, trombones I, II, and III, tuba, percussion, celesta, harps I and II. Manuscript in ink. 78 pp. of music. |
| folder 2 | W43. Sketches of the City, Op. 26. For full orchestra. Instrumental parts: violin I, violin II, viola, cello, bass. Ozalid manuscript. 16 pp. of music. |
| folder 3 | W43. Sketches of the City. Op. 26. For full orchestra. After poems by Carl Sandburg. Printed copy, Juilliard Edition. Signature of Sandburg on the cover page. 36 pages of music. |
| folder 4 | W44. Prayers of Steel, Op. 26, no. 3. For winds, brass, and percussion. Instrumental parts: piccolo; flutes I and II; oboes I and II; E-flat clarinet; clarinets I, II, and II; E-flat alto clarinet; bass clarinet; alto, tenor, and baritone saxophones; bassoons I and II; horns I/II and III/IV; cornets I and II/III; trumpets I/II; baritones I/II; trombones I, II, and III; basses; timpani; percussion. MS in ink. 81 pp. of music. |
| folder 5 | W46. Sonata in A Minor. Op. 27. For piano solo. Ink MS, bound. 17 pages of music. |
| folder 6 | W48. Four Inventions. Op. 28. For keyboard solo. Ink MS, bound. 6 pages of music. |
| folder 7 | W49. Three Satirical Sarcasms. Op. 29. For piano solo. Proof copy, bound. 7 pages of music. |
| folder 8 | W49. Three Satirical Sarcasms. Op. 29. For piano solo. Ink MS, bound. 7 pages of music. |
| folder 9 | W49. Three Satirical Sarcasms. Op. 29. For piano solo. MS repro, bound. 7 pages of music. |
| folder 10 | W50. Three Satirical Sarcasms, Op. 29a. For full orchestra. Wind, brass, and percussion parts: piccolo; flutes I and II; oboes I and II; English horn; clarinets I and II; bass clarinet; bassoons I and II; contrabassoon; horns I, II, and III; trumpets I, II, and III; trombones I, II, and III; timpani; percussion; piano. Manuscript facsimile. 64 pp. of music. |
| folder 11 | W50. Three Satirical Sarcasms , Op. 29. For full orchestra. String parts: violin I (6); violin II (5); viola (4); cello (4); bass (3). Manuscript facsimile. 77 pp. of music. |
| folder 12 | W51. Symphony No. 1 in A Minor. Op. 30. For full orchestra. Ink MS with colored-pencil annotations, bound. 137 pages of music. |
| folder 13 | W51. Symphony No. 1, Op. 30. Inscribed in ink to Homer Keller by the composer, June 30, 1939. Affiliated Music Corporation imprint. 137 pp. of music. Accompanied by a promotional flyer for Gardner Read, also inscribed in ink to Homer Keller by Gardner Read, December 30, 1939. |
| folder 14 | W52. Symphony No. 1 in A Minor. Op. 30a. Transcribed by the composer for piano, four hands. Ink MS with colored-pencil annotations, bound. 59 pages of music. |
Box 4
| folder 1 | W53. Poem. Op. 31. For horn and piano. Ink MS, bound. 3 pages of music. |
| folder 2 | W56. Three Chorale-Preludes. Op. 32. Dedicated to Archer Lambuth. For organ solo. Ink MS, bound. 9 pages of music. |
| folder 3 | W58. Meditations on “Jesu, Meine Freude,” Op. 32, no. 2b. For solo organ. Instrumental part. Ozalid manuscript. 3 pp. of music. |
| folder 4 | W59. Suite for String Quartet, Op. 33. Score and instrumental parts. Ozalid manuscript. 46 pp. of music. |
| folder 5 | W59. Suite for String Quartet, Op. 33. Instrumental parts. Manuscript facsimile with pencil annotations. 20 pp. of music. |
| folder 6 | W60. Suite for String Orchestra, Op. 33a. Score. Ozalid manuscript. 15 pp. of music. |
| folder 7 | W60. Suite for String Orchestra. Op. 33a. For two violins, viola, cello, and bass. MS |
| folder 8 | W60. Suite for String Orchestra. Op. 33a. For two violins, viola, cello, and bass. MS repro with colored-pencil annotations, bound. Stamps on front cover for Peer Musikverlag and Southern Music Publishing Co. (marked as rental material). 15 pages of music. |
| folder 9 | W60. Suite for String Orchestra, Op. 33a. Instrumental parts. Ozalid manuscript. 19 pp. of music. |
| folder 10 | W60. Suite for String Orchestra, Op. 33a. Instrumental parts. Manuscript facsimile with pencil annotations. |
| folder 11 | W61. Sarabande. Op. 33, no. 3a. Dedicated to Vail Read. For solo keyboard. Ink MS, bound. 2 pages of music. |
| folder 2 | W62. Passacaglia and Fugue. Op. 34. For organ solo. Ink MS, bound. 21 pages of music. |
| folder 13 | W63. Passacaglia and Fugue. Op. 34a. Transcribed by the composer for symphony orchestra. Ink MS with colored-pencil annotations, bound. 58 pages of music. |
| folder 14 | W63. Passacaglia and Fugue, Op. 34a. For full orchestra. Wind, brass, and percussion parts: piccolo I; flute I; flute II/piccolo II; oboes I and II; English horn; clarinets I and II; bass clarinet; bassoons I and II; double bassoon; horns I, II, III, and IV; trumpets I, II, and III; tenor trombones I and II; bass trombone; tuba; timpani; harp. Manuscript facsimile. 69 pp. of music. |
| folder 15 | W63. Passacaglia and Fugue, Op. 34a. For full orchestra. String parts: violin I (9); violin II (8); viola (6); cello (6); bass (5). Manuscript facsimile. 129 pp. of music. |
| folder 16 | W64. Passacaglia and Fugue in D minor for Organ, Op. 34b, transcribed for two pianos. Score. Ozalid manuscript. 22 pp. of music. |
| folder 17 | W65. Six Intimate Moods. Op. 35. For violin and piano. Ink MS, bound. 12 pages of music. |
| folder 18 | W65. Six Intimate Moods. Op. 35. For violin and piano. Ink MS, bound. 18 pages of music. |
| folder 19 | W66. From a Lute of Jade: Three Chinese Lyrics for Mezzo-Soprano. Tears, no. 1; The River and the Leaf, no. 2; Ode, no. 3. Op. 36 (1935). For mezzo-soprano with piano accompaniment. Ink MS, bound. 9 pages of music. |
| folder 20 | W66. From a Lute of Jade. Op. 36 (1936). Tears, no. 1; Ode, no. 3; Op. 36 (1935). For voice with piano accompaniment. Ink MS, bound. 8 pages of music. |
Box 5
| folder 1 | W68. Scherzotic Dance. Op. 37. Dedicated to Doris Briggs. For piano solo. Ink MS, bound. 4 pages of music. |
| folder 2 | W68. Scherzotic Dance, Op. 37. For unspecified solo keyboard instrument. Photographic negative of a publisher’s imprint, with markings in red opaque ink. 4 pp. of music. |
| folder 3 | W69. Fantasy for Viola and Orchestra, Op. 38. Wind, brass, and percussion parts. Manuscript in ink with pencil emendations. 62 pp. of music. |
| folder 4 | W69. Fantasy for Viola and Orchestra, Op. 38. String parts: solo viola (3) violin I (7); violin II (6); viola (5); cello (5); bass (4). Manuscript facsimile. 70 pp. of music. |
| folder 5 | W70. Fantasy for Viola and Orchestra. Op. 38a. For viola with piano accompaniment. Ink MS, bound. 17 pages of music. |
| folder 6 | W70. Fantasy for Viola and Orchestra. Op. 38a. For viola with piano accompaniment. Ink MS, bound. 11 pages of music. |
| folder 7 | W72. May Madrigal, Op. 39a. For mixed voices a cappella. Score. Ozalid manuscript. 7 pp. of music. [The Dodd/Engquist bio-bibliography lists this work as Merry Madrigal] |
| folder 8 | W73. Petite Pastorale, Op. 40. For piano. Score. Ozalid manuscript. 2 pp. of music. |
| folder 9 | W73. Petite Pastorale, Op. 40. For piano. Score. MS repro, bound. 2 pp. of music. |
| folder 10 | W74, W75. Petite Pastorale, Op. 40a/b. Instrumental parts, Op. 40a: flute, oboe, clarinets I and II, bassoons I and II, horns I and II, violins I and II, viola, cello, bass. Instrumental parts, Op. 40b: flute, oboe, clarinets I and II, bassoon, trombone, horns I and II, cornets I and II, violins I and II, viola, cello, bass, timpani. Ozalid manuscript. 25 pp. of music. |
| folder 11 | W74. Petite Pastorale, Op. 40a. For flute, clarinet (2), bassoon (2), horn (2), and strings. Instrumental parts. Manuscript facsimile with pencil annotations. 24 pp. of music. |
| folder 12 | W75. Petite Pastorale, Op. 40b. For flute, oboe, clarinet (2), bassoon, cornet (2), timpani, and strings. Instrumental parts. Manuscript facsimile. 64 pp. of music. |
| folder 13 | W75. Petite Pastorale. Op. 40b. For high school orchestra. Ink MS, bound. 7 pages of music. |
| folder 14 | W77. The Golden Journey to Samarkand, Op. 41. For full orchestra, piano, mixed chorus, and SATB solo voices. Piano score and SATB vocal parts. Ozalid manuscript. 71 pp. of music. |
| folder 15 | W78. The Golden Journey to Samarkand. Op. 41a. For SATB and piano. Original orchestral parts indicated. Ink MS, bound. 46 pages of music. |
| folder 16 | W79. Impromptu. Op. 42. Dedicated to Mrs. Edward MacDowell. For piano solo. Ink MS, bound. 3 pages of music. |
| folder 17 | W80. Intermezzo, Op. 42a. For unspecified solo keyboard instrument. Instrumental part. Ozalid manuscript. 4 pp. of music. |
| folder 18 | W83. Symphony No. 2, Op. 45. Wind parts (set 1): piccolo; flutes I and II; oboes I and II; English horn; clarinets I and II; bass clarinet; bassoons I and II; contrabassoon. Manuscript facsimile. 92 pp. of music. |
| folder 19 | W83. Symphony No. 2, Op. 45. Wind parts (set 2). Manuscript facsimile. 92 pp. of music. |
| folder 20 | W83. Symphony No. 2, Op. 45. Brass and percussion parts (set 1): horns I, II, III, and IV; trumpets I, II, and III; trombones I, II, and III; tuba; percussion. Manuscript facsimile. 89 pp. of music. |
Box 6
| folder 1 | W83. Symphony No. 2, Op. 45. Brass and percussion parts (set 2). Manuscript facsimile. 89 pp. of music. |
| folder 2 | W84. Symphony No. 2 in E-flat Minor. Op. 45a. Arranged by the composer for piano, four hands. Ink MS, bound. 45 pages of music. |
| folder 3 | W85. Sea-Scapes. Op. 46. For harp solo. Ink MS, bound. 6 pages of music. |
| folder 4 | W85. Sea-Scapes. Op. 46. For harp solo. Ink MS, bound. 5 pages of music. |
| folder 5 | W86. Piano Quintet. Op. 47. For string quartet and piano. Ink MS, bound. 59 pages of music. |
| folder 6 | W88. Songs for a Rainy Night. Op. 48. Nocturne, no. 1; All Day I Hear, no. 2; I Hear an Army, no. 3. For baritone solo with piano accompaniment. Words by Frances Frost (No. 1), James Joyce (Nos. 2 and 3). Ink MS, bound. 7 pages of music. |
| folder 7 | W88. I Hear an Army, Op. 48, no. 3, for low voice and unspecified keyboard instrument. Score. Ozalid manuscript. 7 pp. of music. |
| folder 8 | W91. Nocturne, Op. 48, no. 1b (score reads Op. 48, no. 1a). For women’s chorus and piano. Score. Ozalid manuscript. 11 pp. of music. |
| folder 9 | W92. All Day I Hear, Op. 48, no. 2b (score reads Op. 48a, no. 2). For solo voice, mixed chorus, and piano. Score. Ozalid manuscript. 11 pp. of music. |
| folder 10 | W93. Songs for a Rainy Night, Op. 48b (parts read Op. 48). For full orchestra. Instrumental parts. Manuscript in ink and manuscript facsimile with pencil corrections. |
| folder 11 | W94. Where Corals Lie, Op. 49. For mixed chorus and two pianos. Score. Ozalid manuscript. 31 pp. of music. |
| folder 12 | W96. Where Corals Lie, Op. 49b. Transcribed for two pianos. Score. Ozalid manuscript. 10 pp. of music. |
| folder 13 | W98. Chorale-Fantasia, based on the traditional Christmas carol “Good King Wenceslas.” Op. 50. For organ solo. MS repro, bound. 7 pages. |
| folder 14 | W99. Chorale-Fantasia, based on the traditional Christmas carol “Good King Wenceslas.” Op. 50a. Transcribed for piano, four hands by Vail Read. Ink MS, bound. 10 pages of music. |
| folder 15 | W100. [Chorale-Fantasia on “Good King Wenceslas,” Op. 50b.] For two unspecified keyboard instruments. Score. Ozalid manuscript. 8 pp. of music. |
| folder 16 | W101. To a Skylark, Op. 51. For [divided five-part chorus of] mixed voices, a cappella. Vocal-piano score. MS repro, bound. 10 pp. of music. |
| folder 17 | W101. To a Skylark, Op. 51. For divided five-part chorus of mixed voices, unaccompanied. Vocal-piano score. Associated Music Publishers, Inc. imprint with pencil emendations in Gardner Read’s hand. 23 pp. of music. |
| folder 18 | W101. To a Skylark. Op. 51. For divided five-part chorus of mixed voices, unaccompanied. Inscribed in ink to Wayne Barlow by the composer, 1949. Associated Music Publishers, Inc. imprint (pl. no. A.M.P. 194516). 23 pp. of music. |
| folder 19 | W102. To a Skylark. Op. 51a. For SATB, a cappella, with rehearsal piano. Words by Percy Bysshe Shelley. Ink MS, bound. 17 pages of music. |
| folder 20 | W103. American Circle: Music for a Dance. Op. 52. For keyboard solo. Ink MS, bound. 5 pages of music. |
| folder 21 | W104. American Circle: Music for a Dance. Op. 52a. Transcribed for high school orchestra by the composer. Ink MS with colored-pencil annotations, bound. 17 pages of music. |
| folder 22 | W104. American Circle, Op. 52a. For full orchestra. Instrumental parts. Manuscript in ink, manuscript facsimile, manuscript in pencil. |
| folder 23 | W105. American Circle, Op. 52b, for violin and piano. Score. Ozalid manuscript. 5 pp. of music. |
| folder 24 | W106. Circle Dance. Op. 52c. For piano solo. Ink MS, bound. 6 pages of music. |
Box 7
| folder 1 | W107. Pan e Dafni, Op. 53. For full orchestra. Instrumental parts: solo clarinet; piccolo; alto flute; flutes II and III; clarinets I and II; bass clarinet; bassoons I and II; double bassoon; horns I, II, III, and IV; trombones I, II, and III; percussion; harp; violin I (7); violin II (6); viola (5); cello (5); bass (4). Manuscript facsimile. |
| folder 2 | W108. Pan e Dafni. Op. 53a. Piano reduction. Pencil MS, bound. 14 pages of music. |
| folder 3 | W109. Driftwood Suite, Op. 54. For unspecified solo keyboard instrument. Score. Ozalid manuscript. 15 pp. of music. |
| folder 4 | W109. Driftwood Suite, Op. 54. For unspecified solo keyboard instrument. Score. MS repro, bound. 15 pp. of music. |
| folder 5 | W110. Jungle Garden by Moonlight. Op. 54, no. 2a. For harp solo. MS repro, bound. 5 pages of music. |
| folder 6 | W112. Concerto for Violoncello and Orchestra. Op. 55a. Dedicated to Gregor Piatigorsky. Arranged for cello with piano accompaniment. MS repro, bound. 52 pages of music. |
| folder 7 | W114. The Temptation of St. Anthony: A Dance Symphony, Op. 56a. Two-piano score. Ozalid manuscript. 77 pp. of music. |
| folder 8 | W115. Dance of the Locomotives. Op. 57. For piano solo. MS repro, bound. 6 pages of music. |
| folder 9 | W116. Dance of the Locomotives. Op. 57a. For full orchestra. Ink MS, bound. 26 pages of music. |
| folder 10 | W118. Tryste Noel, Op. 59. For mixed chorus with alto solo or youth choir. Organ-vocal score. Publisher’s proofs with corrections by Gardner Read in red pencil; facsimile of publisher’s imprint incorporating the emendations. 16 pp. of music. |
| folder 11 | W119. The Magic Hour. Op. 60. For two sopranos and alto with piano accompaniment. Words by Nelle Richmond Eberhart. MS repro, bound. 11 pages of music. |
| folder 12 | W120. Sonata da Chiesa. Op. 61. For piano solo. MS repro, bound. 14 pages of music. |
| folder 13 | W121. Sonata da Chiesa. Op. 61a. Arranged for two pianos by the composer. MS repro, bound. 20 pages of music. |
| folder 14 | W122. Sinfonia da Chiesa. Op. 61b. For brass quintet and organ. Ink MS, bound. 50 pages of music. |
| folder 15 | W123. Night of All Nights, Op. 62. For voice and piano. Score. Ozalid manuscript. 8 pp. of music. |
| folder 16 | W124. Spiritual. Op. 63. Dedicated to Jacques Posell. For bass (or cello). MS repro, bound. 5 pages of music. |
| folder 17 | W126. Spiritual. Op. 63b. For full orchestra. Orchestrated by Oscar Zimmerman. MS repro, stapled in folder. 12 pages of music. |
| folder 18 | W127. Music. Op. 64. For soprano and alto with piano accompaniment. Words by Walter de la mare. MS repro, bound. 5 pages of music. |
| folder 19 | W128. Quiet Music for Strings. Op. 65. For three violins, two violas, two cellos, and bass. MS repro, bound. 13 pages of music. |
| folder 20 | W129. Quiet Music for Organ, Op. 65a. Score. Ozalid manuscript. 8 pp. of music. |
| folder 21 | W130. Threnody. Op. 66. Dedicated to David Van Vastor. For flute and piano. MS repro, bound. 5 pages of music. |
| folder 22 | W131. Threnody. Op. 66a. For solo flute, harp, and strings. MS repro, bound. 13 pages of music. |
Box 8
| folder 1 | W132. Pennsylvaniana. Op. 67. For full orchestra. MS repro, bound. 38 pages of music. |
| folder 2 | W133. Dunlap’s Creek – A Folk-Hymn. Op. 67a, no. 1. For winds, brass, and percussion. Ink MS, bound. 54 pages of music. |
| folder 3 | W134. Three Songs for Baritone. Op. 68. For baritone and piano. Lullaby for a Dark Hour, no. 1; River Night, no. 2; As I Walk Through the Meadows, no. 3. MS repro, bound. 15 pages of music. |
| folder 4 | W134. River Night, Op. 68, no. 2, for unspecified voice and unspecified keyboard instrument. Score. Ozalid manuscript. 7 pp. of music. |
| folder 5 | W134. As I Walked Through the Meadows, Op. 68, no. 3, for voice and piano. Score. Ozalid manuscript. 5 pp. of music. |
| folder 6 | W136. River Night, Op. 68, no. 2a, for bass, piano, and mixed chorus. Score. Ozalid manuscript. 11 pp. of music. |
| folder 7 | W137. Mountain Song. Op. 69. For SATB, a cappella. Words by Frances Frost. MS repro, bound. 4 pages of music. |
| folder 8 | W138. A Mountain Song, Op. 69a. For mixed chorus, a cappella. Ozalid manuscript. 6 pp. of music. |
| folder 9 | W139. Partita, Op. 70. For full orchestra. Instrumental parts: flute, oboe, clarinet, bassoon, horn, trumpet, trombone, timpani, violins I and II, viola, cello, bass. Ozalid manuscript. 61 pp. of music. |
| folder 10 | W139. Partita, Op. 70. Instrumental parts. Flute; oboe; clarinet; bassoon; horn; trumpet; trombone; timpani; violin I (4); violin II (4); viola (3); cello (3); bass (2). Manuscript facsimile. 120 pp. of music. |
| folder 11 | W139. Partita, Op. 70. Instrumental parts (set 2). MS facsimile. 120 pp. of music. |
| folder 12 | W140. De Profundis, Op. 71. For horn and organ. Score. Ozalid manuscript. 10 pp. of music. |
| folder 13 | W141. De Profundis. Op. 71a. For organ solo. MS repro, bound. 6 pages of music. |
| folder 14 | W142. A Bell Overture, Op. 72. For full orchestra. Instrumental parts: violin I and II, viola, cello, bass. Ozalid manuscript. 22 pp. of music. |
| folder 15 | W142. A Bell Overture, Op. 72. For full orchestra. Instrumental parts (winds and percussion): piccolo, flutes (3), oboes (3), English horn, clarinets (3), bass clarinet, bassoons (2), contrabassoon, horns (4), trumpets (4), trombones (3), tuba, percussion (5), bells (5), celesta. MS facsimile with pencil emendations. 182 pp. of music. |
Box 9
| folder 1 | W142. A Bell Overture, Op. 72. For full orchestra. Instrumental parts (strings): harp, violin 1 (9), violin 2 (8), viola (7), cello (6), bass (5). MS facsimile with pencil emendations; string parts bear the stamp of the Cleveland Symphony Orchestra. 219 pp. of music. |
| folder 2 | W143. Incidental music to Ibsen’s “Hedda Gabler,” Op. 73. Piano score. Ozalid manuscript. 9 pp. of music. |
| folder 3 | W144. Petite Berceuse (Lullaby for Cindy). Op. 74. For piano solo. MS repro, bound. 2 pages of music. |
| folder 4 | W146. Songs to Children, Op. 76. For voice and piano. Score. Ozalid manuscript. 11 pp. of music. |
| folder 5 | W146. Songs to Children. Op. 76. Lullaby for a Man-Child, no. 1; The First Jasmines, no. 2; Song of Innocence, no. 3. For voice and piano. MS repro, bound. 21 pages of music. |
| folder 6 | W149. Songs to Children. Op. 76a. Lullaby for a Man-Child, no. 1; The First Jasmines, no. 2; Song of Innocence, no. 3. For voice, flute, harp, and string quartet (score). MS repro, unbound. 34 pages of music. Accompanied by cover page with composer’s writing in ink, 1 page. |
| folder 7 | W149. Songs to Children, Op. 76a. For flute, harp, and string quartet. Instrumental parts. Manuscript in ink with pencil emendations. 35 pp. of music. |
| folder 8 | W150. Lullaby for a Man-Child, Op. 76, no. 1b. For women’s voices and piano. Score. Ozalid manuscript. 5 pp. of music. |
| folder 9 | W150. Lullaby for a Man-Child, Op. 76, no. 1b. For women’s voices and piano. Score. MS repro, bound. 5 pp. of music. |
| folder 10 | W151. Six Easy Pieces for Piano. Op. 77, Nos. 2, 3 (two versions), and 5. For piano solo. Ink MS with colored-pencil and pencil annotations, bound. 12 pages of music. |
| folder 11 | W159. Sonatina (Hommage à Mozart), Op. 78. For solo piano. Ozalid manuscript. 13 pp. of music. |
| folder 12 | W160. Piano Solos for Young People. Op. 79. For piano solo. Ink MS with colored-pencil and pencil annotations, bound. 13 pages of music. |
| folder 13 | W160. Piano Solos for Young People. Summer Afternoon, Op. 79. Photographic negatives of title pages for publisher’s imprint of: Dreaming, Night Song, Plantation Moods, Puck, Summer Afternoon (Chicago: Clayton F. Summy Co.). |
| folder 14 | W160. Piano Solos for Young People. Summer Afternoon, Op. 79, no. 1. For piano solo. Photographic negative of a publisher’s imprint (Chicago: Clayton F. Summy Co.), with markings in red opaque ink. 2 pp. of music. |
| folder 15 | W160. Piano Solos for Young People. Plantation Moods, Op. 79, no. 2. For piano solo. Photographic negative of a publisher’s imprint (Chicago: Clayton F. Summy Co.), with markings in red opaque ink. 4 pp. of music. |
| folder 16 | W160. Piano Solos for Young People. Night Song, Op. 79, no. 3. For piano solo. Photographic negative of a publisher’s imprint (Chicago: Clayton F. Summy Co.), with markings in red opaque ink. 3 pp. of music. |
| folder 17 | W160. Piano Solos for Young People. Puck, Op. 79, no. 4. For piano solo. Photographic negative of a publisher’s imprint (Chicago: Clayton F. Summy Co.), with markings in red opaque ink. 2 pp. of music. |
| folder 18 | W160. Piano Solos for Young People. Dreaming, Op. 79, no. 5. For piano solo. Photographic negative of a publisher’s imprint (Chicago: Clayton F. Summy Co.), with markings in red opaque ink. 3 pp. of music. |
| folder 19 | W162. Two Moods for Band. Op. 79a. For concert band. Ink MS with colored-pencil and pencil annotations, bound. 20 pages of music. |
| folder 20 | W163. Sonata Brevis. Op. 80. Dedicated to Louis Kaufman. For violin and piano. MS repro, bound. 26 pages of music. |
| folder 21 | W164. Suite for Organ. Op. 81. For organ solo. MS repro, bound. 41 pages of music. |
| folder 22 | W165. Suite for Orchestra. Op. 81a (incomplete). For full orchestra. Pencil MS. 17 pages of music |
| folder 23 | W165. Suite for Orchestra. Op. 81a. For full orchestra. Pencil MS, bound. 113 pages of music |
| folder 24 | W166. Sound Piece for Brass and Percussion. Op. 82. Dedicated to Boston University Brass Choir. For trumpets (4), horns (4), baritone, trombones (3), tubas (2), timpanis (3), and percussion. Pencil MS, bound. 103 pages of music. |
| folder 25 | W167. Chorale and Fughetta, Op. 83. For women’s voices, winds, brass, percussion, and piano. Score. Ozalid manuscript. 25 pp. of music. N.B. Movement III of For Serge Koussevitzky, in grato jubilo: an occasional cantata; see Box 129/4. |
| folder 26 | W167. Chorale and Fughetta. Op. 83. For SSA [and wind chamber orchestra]. Choral part. MS repro, bound. 6 pages of music. |
Box 10
| folder 1 | W168. Chorale and Fughetta, Op. 83, 1a (score reads Op. 83a). For brass choir. Score and instrumental parts: cornets I/II and III/IV, horns I/II and III/IV, trombones I/II and III, baritones I and II, tuba. Ozalid MS. 38 pp. of music. |
| folder 2 | W170. Festival Fanfare. Op. 83, no. 2. For full orchestra and organ. Ink MS, bound. 7 pages of music. |
| folder 3 | W170. Festival Fanfare, [Op. 83, no. 2]. Originally scored for organ and orchestra; only contains instrumental parts for violin I and II, viola, cello and bass. Ozalid MS. 5 pp. of music. |
| folder 4 | W171. A Sheaf of Songs. Op. 84. At Bedtime, no. 1; Sister, Awake, no. 2; The Lamb, no. 3; It is Pretty in the City, no. 4. For voice and piano. MS repro, bound. 14 pages of music. |
| folder 5 | W171. A Sheaf of Songs. Op. 84. Sister, Awake, no. 2; The Lamb, no. 3; It is Pretty in the City, no. 3. For voice and piano. Scores. Ozalid manuscript. 11 pp. of music. |
| folder 6 | W174. At Bedtime. Op. 84a, no. 1. For SSA and piano. MS repro, bound. 4 pages of music. |
| folder 7 | W175; W176. Sister, Awake, Op. 84, no. 2a. For SSA chorus and piano; The Lamb, Op. 84, no. 3a. For SATB chorus and piano. Vocal-piano scores. Ozalid manuscript. 13 pp. of music. |
| folder 8 | W176, W175. The Lamb, Op. 84, no. 3b and 3a; Sister, Awake, Op. 84, no. 2a. For voice, flute, oboe, clarinet, bassoon, and horn. Score and parts. Ozalid manuscript. 34 pp. of music. |
| folder 9 | W176, W175. The Lamb. Op. 84a, no. 3. For SATB and piano. Sister, Awake. Op. 84a, no. 2. For SSA and piano. MS repro, bound. 13 pages of music. |
| folder 10 | [W177.] Songs for Voice and Wind Quintet. Op. 84b (score erroneously reads Op. 89b, and It is Pretty in the City erroneously listed as No. 2). At Bedtime, no. 1; It is Pretty in the City, no. 4. For voice and wind quintet. Pencil MS with typescript lyrics, in Duotang 3-prong folder. |
| folder 11 | W177. The Lamb. Op. 84b, no. 3. Sister, Awake. Op. 84b, no. 2. For voice and wind quintet. MS repro, bound. 12 pages of music. |
| folder 12 | W177. Sister, Awake, no. 2a from Two Songs for Voice and Woodwind Quintet. For voice, flute, oboe, clarinet, bassoon, and horn. Two sets of instrumental parts from the Rental Library of J. Fischer & Bro., New York. Manuscript facsimile. 10 pp. of music. Second copy of the oboe part is accompanied by a pencil MS, with performance markings in typescript, of the oboe part for arrangements of At Bedtime and It is Pretty in the City, songs 1 and 4 from W171, A Sheaf of Songs, Op. 84. 2 pp. of music. |
| folder 13 | W177. The Lamb, Op. 84, no. 3a from Two Songs for Voice and Woodwind Quintet. For voice, flute, oboe, clarinet, bassoon, and horn. Two sets of instrumental parts from the Rental Library of J. Fischer & Bro., New York. Manuscript facsimile; performance markings in pencil. 10 pp. of music. Flute, Bb clarinet, bassoon and horn in F are accompanied by their respective parts for arrangements of At Bedtime and It is Pretty in the City, songs 1 and 4 from W171, A Sheaf of Songs, Op. 84. MS in pencil. 8 pp. of music. |
| folder 14 | W178. Touch Piece. Op. 85. For piano solo. MS repro, bound. 15 pages of music. |
| folder 15 | W179. Nine by Six, Op. 86. For piccolo/flute, oboe/English horn, clarinet/bass clarinet, trumpet, horn, and bassoon. Score. Ozalid manuscript. 38 pp. of music. |
| folder 16 | W179. Nine by Six, Op. 86. For piccolo/flute, oboe/English horn, clarinet/bass clarinet, trumpet, horn, and bassoon. Instrumental parts. Ozalid manuscript. 42 pp. of music. |
| folder 17 | W180. Jesous Ahatonhia. Op. 87. Dedicated to Boston University Chorus, James R. Houghton, conductor. For SATB and organ. Ink MS, bound. 10 pages of music. |
| folder *** | W180. Jesous Ahatonhia. Op. 87. For SATB and organ. See Box 78/1 (2 published imprints from Birchard-Boston University Contemporary Music Series, ed. Gardner Read). |
| folder 18 | [W—.] Jesous Ahatonhia. Op. 87a. For full orchestra. MS repro, stapled. 14 pages of music. Accompanied by typewritten biography of composer and program notes, 1 page total. |
| folder 19 | W181. Song Heard in Sleep, Op. 88. For soprano, tenor, and piano. Score. Ozalid manuscript. 14 pp. of music. |
| folder 20 | W182. Song Heard in Sleep, Op. 88a. For soprano, alto, tenor, bass, and piano. Score. Ozalid manuscript. 12 pp. of music. |
| folder 21 | W183. The Reveille. Op. 89. Words by Bret Harte. For two tenors, two basses, piano, and snare drum. Ink MS, bound. 11 pages of music. |
| folder 22 | W184. The Reveille. Op. 89a. Words by Bret Harte. For SATB and piano accompaniment. Ink MS, bound. 16 pages of music. |
| folder 23 | W185. The Reveille. Op. 89b. Words by Bret Harte. For wind orchestra, percussion, organ, and SATB. Ink MS, bound. 23 pages of music. |
| folder 24 | W185. The Reveille, Op. 89b. For mixed chorus. Choral part. Manuscript facsimile. 13 pp. of music; 10 copies. |
| folder 25 | W186. Eight Preludes on Old Southern Hymns. Op. 90. My Soul Forsakes Her Vain Delight, no. 1; Thou Man of Grief, Remember Me, no. 2; David, the King, Was Grieved and Moved, no. 3; On Jordan’s Stormy Banks I Stand, no. 4; Alas! And Did My Saviour Bleed?, no. 5; Fight On, My Soul, no. 6; Do Not I Love Thee, O My Lord, no. 7; Once More, My Soul, the Rising Day, no. 8. For organ solo. Ink MS with colored-pencil and typewritten annotations, bound. 35 pages of music. |
Box 11
| folder 1 | W188. Elegiac Aria, Op. 91a. For organ. Ozalid manuscript. 5 pp. of music. |
| folder 2 | W189. Symphony No. 4, Op. 92. Instrumental parts (woodwinds): piccolo, flute (2), oboe (2), English horn, clarinet (2), bass clarinet, bassoon (2), contrabassoon. Manuscript facsimile with pencil emendations. |
| folder 3 | W189. Symphony No. 4, Op. 92. Instrumental parts (brass, percussion): horn (6), trumpet (3), trombone (3), tuba, percussion (6). Manuscript facsimile with pencil emendations. |
| folder 4 | W189. Symphony No. 4, Op. 92. Instrumental parts (violins): violin I (9); violin II (8). Manuscript facsimile with pencil emendations. |
| folder 5 | W189. Symphony No. 4, Op. 92. Instrumental parts (lower strings): viola (6); cello (6); bass (5). Manuscript facsimile with pencil emendations. |
| folder 6 | W190. The Golden Harp. Op. 93. For SATB, a cappella, with rehearsal piano. MS repro, bound. 12 pages of music. |
| *** | W190. The Golden Harp. Op. 93. For SATB, a cappella, with rehearsal piano. See Box 78/1 (published imprint from Birchard-Boston University Contemporary Music Series, ed. Gardner Read). |
| folder 7 | W192. Two Marches for Children. The Little Soldiers, Op. 95, no. 1; Toy Parade, Op. 95, no. 2. For piano solo. Ozalid manuscript. 4 pp. of music. |
| folder 8 | W193. Two Marches for Children. Op. 95a. The Little Soldiers, no. 1; The Toy Parade, no. 2. For piano, four hands. Pencil MS with colored-pencil annotations, bound. 10 pages of music. |
| folder 9 | W194. Vernal Equinox. Op. 96. For full orchestra. Score and parts. Ozalid manuscript. 27 pages of music (score). |
| folder 10 | W195. Three American Folk-Songs. Op. 97. Star in the East, no. 1; You Can Dig My Grave, no. 2; Hop Up, My Ladies, no. 3. Ink MS with colored-pencil annotations, bound. 33 pages of music. |
Box 12
| folder 1 | W197. Incidental music to J. M. Barrie’s “The Admirable Crichton,” Op. 98. For woodwind quintet and piano. Score. Ozalid manuscript. 23 pp. of music. |
| folder 2 | W197. Incidental music to “The Admirable Crichton.” Op. 98. For wind quintet and piano. MS repro, bound. 21 pages of music. |
| folder 3 | W197. Incidental music for Barrie’s “The Admirable Crichton,” Op. 98. For flute, clarinet, bassoon, horn, and piano. Instrumental parts. Manuscript in ink with pencil corrections. 30 pp. of music. |
| folder 4 | W198. Two American Hymns. Lord of All Being, Op. 99, no. 1; This New Day, Op. 99, no. 2. Chorale harmonizations for unspecified instrumentation. Ozalid manuscript. 2 pp. of music. |
| folder 5 | W200. String Quartet No. 1. Op. 100. Score and parts. Ozalid manuscript. 58 pages of music (score). |
| folder 6 | W201. Incidental music to “The Shoemaker’s Prodigious Wife.” Op. 101. For (in order of appearance) guitar, SATB, flute, tambourine, trumpet, piccolo, bells. Ink MS, bound. 15 pages of music. |
| folder 7 | W202. Sonoric Fantasia No. 1, Op. 102. For celesta, harp, and harpsichord. Score. Ozalid manuscript. 46 pp. of music. |
| folder 8 | W203. Incidental music to “The Scarecrow.” Op. 103. For trumpets (4), horns (4), trombones, organ, voice, and harpsichord. Score. Ink MS with colored-pencil annotations, bound. 26 pages of music. |
| folder 9 | W203. Incidental music for MacKaye’s “The Scarecrow,” Op. 103. For tenor voice, horn, trumpet, trombone, organ, and harpsichord. Vocal and instrumental parts. Manuscript facsimile and manuscript in pencil. 21 pp. of music. |
| folder 10 | W203. Ravensbane’s Ballade, from the incidental Music for MacKaye’s “The Scarecrow,” Op. 103. For tenor, horns, trumpets, and trombones. Parts: tenor, horns (4), trumpets (4), trombones (3). Manuscript facsimile. |
| folder 11 | W204. Fanfares for a Maske, Op. 104. For horns, trumpets, and trombone. Score. Ozalid manuscript. 9 pp. of music. |
| folder 12 | W205. Incidental music to “The Golden Six.” Op. 105. For winds, brass, percussion, harp, and organ. Ink MS with colored-pencil annotations. 19 pages of music. |
| folder 13 | W205. Incidental music for Anderson’s “The Golden Six,” Op. 105. For winds, brass, percussion, and organ. Instrumental parts. Manuscript in ink. 45 pp. of music. |
| folder 14 | W206. Boston Arts Festival Fanfare, Op. 106. For orchestra. Score. Ozalid manuscript. 5 pp. of music. |
| folder 15 | W207. Los Dioses Aztecas, Op. 107. Suite for percussion ensemble. Score. Ozalid manuscript. 69 pp. of music. |
| folder 16 | W207. Los Dioses Aztecas, Op. 107. Instrumental parts. Ozalid manuscript. |
| folder 17 | W207. Los Dioses Aztecas, Op. 107. Instrumental parts. Manuscript facsimile. |
| folder 18 | W208. Incidental music to Harding’s “Kinderspiel,” Op. 108. Score. Ozalid manuscript. 12 pp. of music. |
| folder 19 | W208. Incidental Music to Harding’s “Kinderspiel,” Op. 108. For percussion, organ, and piano. Instrumental parts. Manuscript facsimile |
| folder 20 | W209. Though I Speak with the Tongues of Men, Op. 109. For mixed choir and organ. Score. Ozalid manuscript. 17 pp. of music. |
| folder 21 | W211. The Prophet. Op. 110a. Vocal score. For baritone solo and SATB, with rehearsal piano. MS repro, bound. 76 pages of music. |
Box 74
| folder 1 | W211. The Prophet. Op. 110a. Vocal score. For baritone solo and SATB, with rehearsal piano. MS repro, spiral bound. 72 pages of music. Pages 55–58 (inclusive) missing. |
| folder 2 | W213. Six Preludes on Old Southern Hymns (Second Set), Op. 112. For organ. Ozalid manuscript. 23 pp. of music. |
| folder 3 | W214. Incidental music to James Forsyth’s version of Ibsen’s “Brand,” Op. 113. Score. Ozalid manuscript. 44 pp. of music. |
| folder 4 | W214. Incidental music to James Forsyth’s version of Ibsen’s “Brand,” Op. 113. For soprano, tenor, organ, oboe, horn, trumpet (4) , trombone (4), tuba, and percussion. Parts. Manuscript in ink. |
| folder 5 | W215. Incidental music to “Pilate.” Op. 114. For flute, clarinet, trumpets (3), percussion, and harp. Ink MS, bound. 23 pages of music. |
| folder 6 | W215. Incidental music to “Pilate,” Op. 114. For flute, clarinet, trumpet (3), harp, and percussion. Instrumental parts. Ozalid manuscript. |
| folder 7 | W215. Incidental music for Sister Gretchen’s “Pilate,” Op. 114. Instrumental parts. For flute, clarinet, trumpet, horn, harp, and percussion. Manuscript facsimile with pencil corrections. 53 pp. of music. |
| folder 8 | W216. Incidental music to “Yerma.” Op. 115. For flute, guitar, low tom-tom. Ink MS, bound. 6 pages of music. |
| folder 9 | W216. Incidental music for Garcia Lorca’s “Yerma,” Op. 115. For flute, guitar, and percussion. Instrumental parts. Manuscript facsimile with corrections in pencil. 7 pp. of music. |
| folder 10 | W220. Chants d’Auvergne, Op. 117. For mixed chorus, flute, English horn, bassoon, horn, percussion, harp, viola, and cello. Score. Ozalid manuscript. 169 pp. of music. Accompanied by: [1] An Ozalid manuscript for W225, Un berger, dedans sa cabane, Op. 117a, no. 7. For SATB chorus, viola and organ. Score. 7 pp. of music. [2] An itemized bill from Harry Silberman, a music copyist, to Gardner Read. Typescript; annotated in pencil and ink. 2 pp. [3] Documents containing translations of the texts for Chants d’Auvergne. Repro of typescript. 4 pp. |
| folder 11 | W220. Chants d’Auvergne, Op. 117. For mixed chorus, flute, English horn, bassoon, horn, percussion, harp, viola, and cello. Parts. Ozalid manuscript. 149 pp. of music. |
| folder 12 | W221, W223, W224, W226. Chants d’Auvergne, Op. 117, Nos. 1a (for SATB chorus, piano and viola), 3a (for SATB chorus), 5a (for SATB chorus), and 9a (for SATB chorus, harp [or piano], and French horn). Ozalid manuscript. 39 pp. of music. Accompanied by English translations of the French text. Typescript. 4 pp. |
| folder 13 | W221, W225, W226. Chants d’Auvergne, Op. 117, Nos. 1a (for SATB chorus, piano and viola), 7a (for SATB chorus, viola, and organ), and 9a (for SATB chorus, harp [or piano], and French horn). MS repro, bound. 23 pp. of music. |
| folder 14 | W229. Petite Suite, Op. 118. For recorders or flutes and harpsichord or piano. Ozalid manuscript. 6 pp. of music. |
| folder 15 | W230. Incidental music to “Seven Scenes for Yeni.” Op. 119. For voice, guitar, trumpet, and flute. Ink MS, bound. 5 pages of music. |
| folder 16 | W231. Incidental music to “Everyman.” Op. 120. For flute, oboe, clarinet, and bassoon. MS repro, bound. 9 pages of music. |
Box 75
| folder 1 | W232. Variations on a Chromatic Ground. Op. 121. For organ solo. Ink MS, bound. 5 pages of music. |
| folder 2 | W233. Villon, Op. 122. Act I. Piano-vocal score. Manuscript facsimile, unbound. 100 pp. of music. (Note: Final version of the opera is divided into three rather than four acts, and is scored for solo voices, chorus and orchestra). |
| folder 3 | W233. Villon, Op. 122. Act II. Piano-vocal score. Manuscript facsimile, unbound. 57 pp. of music. |
| folder 4 | W233. Villon, Op. 122. Act III and Act IV, scene 1. Piano-vocal score. Manuscript facsimile, unbound. 142 pp. of music. |
| folder 5 | W233. Villon, Op. 122. Act IV. Piano-vocal score. Manuscript facsimile, unbound. 65 pp. of music. |
| folder 6 | W233. Villon, Op. 122. Act I. Piano-vocal score. Manuscript facsimile, bound. 157 pp. of music. |
| folder 7 | W233. Villon, Op. 122. Acts II and III. Piano-vocal score. Manuscript facsimile, bound. 176 pp. of music. |
| folder 8 | W235. Sonoric Fantasia No. 2, Op. 123. For violin (solo, I, II), viola, flute, harp, and percussion. Instrumental parts. Manuscript facsimile. |
| folder 9 | W237. A Christmas Pastorale. Op. 124. For violin and organ. Score and parts. Ozalid manuscript. 1 page (violin) and 10 pages (organ) of music. |
| folder 10 | W235. Sonoric Fantasia No. 3. Op. 125. For piccolo, E-flat flute, C flute, alto flute, bass flute, harp, and percussion. MS repro, bound. 25 pages of music. Accompanied by explanation of notation, 1 page. |
| folder 11 | W238. Sonoric Fantasia No. 3, Op. 125. For piccolo, E-flat flute, C flute, alto flute, bass flute, harp, and percussion (3 players). Instrumental parts (incomplete set; flutes): piccolo, E-flat flute, alto flute, bass flute. Manuscript facsimile. N.B. Alto flute part is missing pages 16–17. |
Box 76
| folder 1 | W238. Sonoric Fantasia No. 3, Op. 125. For piccolo, E-flat flute, C flute, alto flute, bass flute, harp, and percussion (3 players). Instrumental parts (incomplete set; harp & percussion): harp, percussion 2 & 3 (2). Manuscript facsimile. |
| folder 2 | W240. Canzone di Notte, Op. 127. For guitar. Instrumental part and explication of notation. Ozalid manuscript. 1 p. of text, 3 pp. of music. |
| folder 3 | W241. Hexadic, Op. 128. For six instrumentalists. Score and instructions. Ozalid manuscript. 4 pp. of text, 3 pp. of music. |
| folder 4 | W242. The Storke (A Christmas Ballad), Op. 129. For mixed voices, a cappella. Score. Ozalid manuscript. 10 pp. of music. |
| folder 5 | W243. Concerto for Piano and Orchestra, Op. 130. Instrumental parts (woodwinds): flutes I and II; oboes I and II; clarinets I and II; bassoons I and II. Computer-generated parts; privately printed for the composer. |
| folder 6 | W243. Concerto for Piano and Orchestra, Op. 130. Instrumental parts (brass and percussion): horns I (2), II, III, and IV; trumpets I, II, and III; trombones I, II, and III; timpani; percussion (2). Computer-generated parts; privately printed for the composer. |
| folder 7 | W243. Concerto for Piano and Orchestra, Op. 130. Instrumental parts (violins): violin I (9); violin II (9). Computer-generated parts; privately printed for the composer. |
| folder 8 | W243. Concerto for Piano and Orchestra, Op. 130. Instrumental parts (lower strings): viola (8); cello (8); bass (5). Computer-generated parts; privately printed for the composer. |
| folder 9 | W244. Concerto for Piano and Orchestra. Op. 130a. Reduction for two pianos. Score. Ozalid manuscript. 58 pages of music. |
| folder 10 | W244. Concerto for Piano and Orchestra. Op. 130a. Reduction for two pianos. Score. MS repro, bound. 58 pages of music. |
| folder 11 | W245. Praise Ye the Lord. Op. 131, no. 1. For eight vocalists. Ink and typescript MS, bound. 4 pages of music. |
| folder 12 | W245. Da Capo, Op. 131, no. 3 from Music to Sing. For mixed voices, a cappella. Score. Ozalid manuscript. 8 pp. of music. |
| folder 13 | W247. As White as Jade, Op. 131, no. 2. For four voices and piano. Score. Ozalid manuscript. 3 pp. of music. |
Box 77
| folder 1 | W248. The Hidden Lute. Op. 132. The Island of Pines, no. 1; Sleeplessness, no. 2; The Ancient Wind, no. 3. For soprano, harp, alto flute, and percussion. Score. Ozalid manuscript. 37 pages of music. Accompanied by explanation of notation, 1 page. |
| folder 2 | W248. The Hidden Lute. Op. 132. For soprano, harp, alto flute, and percussion. Score. MS repro, bound. 37 pages of music. |
| folder 3 | W249. The Hidden Lute, Op. 132a. For soprano and piano. Score. Ozalid manuscript. 20 pp. of music. |
| folder 4 | W249. The Hidden Lute, Op. 132a. For soprano and piano. Score. MS repro, bound. 20 pp. of music. |
| folder 5 | [W—.] The Hidden Lute. Op. 132b. Piano reduction. Pencil MS, bound. 11 pages of music. |
| folder 6 | W250. Sonoric Fantasia No. 4. Op. 133. For organ and percussion. MS repro, bound. 27 pages of music. Accompanied by program notes, 1 page. Also accompanied by explanation of notation, 1 page. |
| folder 7 | W251. “and there appeared unto them tongues as of fire,” Op. 134. For organ. Score and instructions. Ozalid manuscript. 16 pp. of music, 1 p. of text. |
| folder 8 | W252. Invocation, Op. 135. For tenor trombone and organ. Score. Ozalid manuscript. 9 pp. of music. |
| folder 9 | W253. Galactic Novae, Op. 136. For organ and percussion. Score and instructions. Ozalid manuscript. 24 pp. of music, 1 p. of text. |
| folder 10 | W255. Diabolic Dialogue, Op. 137. For double bass and four pedal timpani. Score and instructions. Ozalid manuscript. 9 pp. of music, 1 p. of text. |
| folder 11 | W255. Diabolic Dialogue, Op. 137. For double bass and four pedal timpani. Score. Computer-generated parts; privately printed for the composer. Photocopy with emendations in red pencil. 8 pp. of music. |
| folder 12 | W256. By-Low, My Babe. Op. 138. For mixed voices, flute, English horn, and harp. Ink MS, bound. 23 pages of music. |
| folder 13 | W256. By-Low, My Babe, Op. 138. For mixed voices, flute, English horn, and harp. Parts. Manuscript in ink and pencil; Ozalid manuscript. |
| folder 14 | W259. Music for Chamber Winds, Op. 141. For double wind quintet and percussion. Score. Ozalid manuscript. 30 pp. of music. |
| folder 15 | W260. Music for Chamber Winds. Op. 141a. Piano reduction. Pencil MS, bound. 8 pages of music. |
| folder 16 | W261. Chicago Anthem, Op. 142. For voice and unspecified keyboard instrument. Score. Manuscript in pencil. 4 pp. of music. |
| folder 17 | W261. The Chicago Anthem, Op. 142. For voice and unspecified keyboard instrument. Score. Ozalid manuscript. 3 pp. of music. |
| folder 18 | W262. Anniversary Prelude, Op. 143. For string trio. Score. Manuscript in pencil. 5 pp. of music. |
| folder 19 | W262. Anniversary Prelude, Op. 143. For string trio. Score. Ozalid manuscript. 5 pp. of music. |
| folder 20 | W263. Epistle to the Corinthians. Op. 144. For mixed chorus, brass choir, timpani (ad lib.), and organ. MS repro, spiral bound. 37 pages of music. |
| folder 21 | W263. Epistle to the Corinthians. Op. 144. For mixed chorus, brass choir, timpani (ad lib.), and organ. Piano-vocal score. MS repro, spiral bound. 22 pages of music. |
| folder 22 | W264. Epistle to the Corinthians. Op. 144a. For mixed chorus and piano. MS repro, bound. 22 pages of music. |
| folder 23 | W265. Epistle to the Corinthians, Op. 144b. For soprano or tenor and organ. Score. Manuscript in pencil. 8 pp. of music. |
| folder 24 | W265. Epistle to the Corinthians. Op. 144b. For Soprano (or Tenor), and Organ. MS repro, bound. 14 pages of music. |
| folder 25 | W265. Epistle to the Corinthians. Op. 144b. For Soprano (or Tenor), and Organ. Score (incomplete; page 14 lacking). MS repro. 13 pages of music. |
| folder 26 | W266. Nocturnal Visions, Op. 145. For baritone and piano. Score. Ozalid manuscript. 24 pp. of music. |
| folder 27 | W267. Paean for St. Mark’s, Op. 146. For mixed voices and organ. Score. Manuscript in pencil. 18 pp. of music. |
| folder 28 | W267. Paean for St. Mark’s, Op. 146. For mixed voices and organ. Score. Ozalid manuscript. 28 pp. of music. |
| folder 29 | W268. Phantasmagoria, Op. 147. For English horn and organ. Score. Manuscript in pencil. 12 pp. of music. |
| folder 30 | W268. Phantasmagoria, Op. 147. For English horn and organ. Score and instructions. Ozalid manuscript. 30 pp. of music, 1 p. of text. |
| folder 31 | W268. Phantasmagoria, Op. 147. For English horn and organ. Score. Photocopy with pencil emendations in Gardner Read’s hand. 30 pp. of music. |
| folder 32 | W269. Phantasmagoria, Op. 147a. For English horn and organ. Score. Ozalid manuscript. 30 pp. of music. |
| folder 33 | W270. Fantasy-Toccata, Op. 148. For unspecified keyboard instrument. Manuscript in pencil. 6 pp. of music. |
| folder 34 | W270. Fantasy-Toccata, Op. 148. For solo harpsichord. Ozalid manuscript. 8 pp. of music. |
| folder 35 | W271. Kokopelli. Op. 149. For flute and percussion. MS in pencil and typescript. 5 pages of music. Accompanied by explanations of notation (2 pages of MS in pencil; 2 pages of typescript, annotated in pencil; repro of typescript and pencil MS, 2 pages). Also accompanied by repro of MS in pencil and typescript. 2 pages of music. Also accompanied by 2 pages of the score that were created using music notation software. |
| folder 36 | W272. Five Aphorisms for Violin and Piano, Op. 150. Manuscript in pencil. 22 pp. of music. |
| folder 37 | W273. Poem II, Op. 151. For English horn and organ. Score. Ozalid manuscript. 2 pp. of music. |
| folder 38 | W274. Music for “The Face of Innovation” (Video). Op. 152. For horn and harp. MS repro, bound. 4 pages of music. |
| folder 39 | [W—.] “Bare ruin’d choirs . . .,” Op. 153. For organ. Score. Manuscript in pencil. 3 pp. of music. |
| folder 40 | [W—.] Pan e Dafni: II. Op. 154. For alto flute, viola and harp. MS in pencil; annotated in typescript. 4 pages of music. |
| folder 41 | [W—.] Klavier Klangfarben. Op. 155. For piano solo. MS in pencil; annotated with performance instructions in typescript. 3 pages of music. |
Box 78
| folder 1 | “Birchard-Boston University Contemporary Music Series, ed. Gardner Read.” 12 choral octavos (originally housed together in black spring binder): [1] Read, Gardner. [W180.] Jesous Ahatonhia, Op. 87. For SATB chorus and organ. Boston: C. C. Birchard, c1950. No. 750. 12 pp. of music. [2] Read, Gardner. [W180.] Jesous Ahatonhia, [Op. 87]. For SATB chorus and organ. [Evanston, IL]: Summy-Birchard, c1950. No. B-750. 12 pp. of music. [3] Copland, Aaron. That’s the Idea of Freedom. For SATB chorus and piano. Boston: C. C. Birchard, c1938. No. 751. 8 pp. of music. [4] Copland, Aaron. That’s the Idea of Freedom. For SATB chorus and piano. Evanston, IL: Summy-Birchard, c1938. No. B-751. 8 pp. of music. [5] Cowell, Henry. Song for a Tree. For SSA chorus (a cappella or accompanied). Boston: C. C. Birchard, c1951. No. 752. 4 pp. of music. [6] Bacon, Ernst. Five Hymns. For SATB chorus and piano or organ. Boston: C. C. Birchard, c1952. No. 753. 14 pp. of music. [7] McLain, Margaret Starr. The Storke. For SATB chorus and piano. Boston: C. C. Birchard, c1942. No. 754. 13 pp. of music. [8] Roy, Klaus George. There is a Garden in Her Face. For SATB chorus (a cappella). Boston: C. C. Birchard, c1952. No. 755. 7 pp. of music. [9] Read, Gardner. [W190.] The Golden Harp, Op. 93. For SATB chorus (a cappella). Boston: C. C. Birchard, c1954. No. 756. 8 pp. of music. [10] Read, Gardner. [W190.] The Golden Harp, Op. 93. For SATB chorus (a cappella). Evanston, IL: Summy-Birchard, c1954. No. B-756. 10 pp. of music. [11] Adler, Samuel. Invocation to the Muse. For SATB chorus (a cappella). Boston: C. C. Birchard, c1957. No. 757. 5 pp. of music. [12] Hovhaness, Alan. The Brightness of Our Noon, Op. 131. For SATB chorus [a cappella]. Boston: C. C. Birchard, c1957. No. 758. 6 pp. of music. |
| folder 2 | [WoO.] Two Fanfares. No opus number. Cherry Festival Fanfare, no. 1; Interlochen Bowl Fanfare, no. 2. Ink MS, bound. 2 pages of music. |
| folder 3 | [WoO.] Willmann, Rudolph R. “An Experimental Investigation of the Creative Process in Music.” Psychological Monographs, 57/1 (1944). Music by Read appears on pp. 54, 60, and 64. Items circled in red colored-pencil. Pencil drafts inserted at the back of the issue, 2 pages. |
Box 78
| folder 4 | WT1. [Incidental music to Comus.] Music by Henry and William Lawes and other contemporary composers. Arranged for String Quartet, Piano, and Harp by Gardner Read. Pencil MS, bound. 11 pages of music. |
| folder 5 | WT2. La Boîte à Joujoux. Music by Claude Debussy. Transcribed for Orchestra by Gardner Read. Incomplete (at end of score: “not completed – GR”). Pencil MS, bound. 25 pages of music |
| folder 6 | WT2. La Boîte à Joujoux. Music by Claude Debussy. Transcribed for Orchestra by Gardner Read. Instrumental parts: flute, oboe, clarinet, bassoon, horn, and strings. Manuscript in ink with pencil corrections. 30 pp. of music. |
| folder 7 | WT3. Prelude and Fugue in B Minor. Music by J. S. Bach. Transcribed for Modern Orchestra by Gardner Read. Ink MS, bound. 60 pages of music. |
| folder 8 | WT4. Mists [Nebbie] Music by Ottorino Respighi. Orchestrated by Gardner Read. Ink MS, bound. 6 pages of music. |
| folder 9 | WT4. Mists [Nebbie]. Music by Ottorino Respighi. Orchestrated by Gardner Read. Instrumental parts: flute, oboe, clarinets (2), bass clarinet, bassoon, horn, trumpet, trombone, harp, percussion, 1st violin (2), 2nd violin (2), viola, cello, bass. Manuscript in ink with pencil corrections. 18 pp. of music. |
| folder 10 | WT6. Prelude, Adagio and Fugue, from Sonata VII. Music by Padre Martini (1706–1784). Transcribed for string orchestra by Gardner Read. Score. Ozalid manuscript. 15 pp. of music. |
| folder 11 | WT6. Prelude, Adagio and Fugue, from Sonata VII. Music by Padre Martini (1706–1784). Transcribed for string orchestra by Gardner Read. Score. MS repro, bound. 15 pp. of music. |
| folder 12 | WT6. Prelude, Adagio and Fugue, from Sonata VII. Music by Padre Martini (1706–1784). Transcribed for string orchestra by Gardner Read. Score. MS repro, spiral-bound. 15 pp. of music. |
| folder 13 | WT6. Prelude, Adagio and Fugue, from Sonata VII. Music by Padre Martini (1706–1784). Transcribed for string orchestra by Gardner Read. Instrumental parts: violin I, violin II, viola, cello, bass. Ozalid manuscript. 20 pp. of music. |
| folder 14 | WT6. Prelude, Adagio and Fugue, from Sonata VII of Padre Martini (1706-1784). Transcription for string orchestra. Parts: violin I (6), violin II (6), viola (4), cello (3), bass (2), cembalo (1). Manuscript reproduction; manuscript in ink (cembalo only). 97 pp. of music. |
| folder 15 | WT6. Prelude, Adagio and Fugue, from Sonata VII of Padre Martini (1706-1784). Transcription for string orchestra. Parts (set 2): violin I, violin II. Ozalid manuscript. 6 pp. of music. |
| folder 16 | WT6. Prelude, Adagio and Fugue, from Sonata VII of Padre Martini (1706-1784). Transcription for string orchestra. Parts (set 2): violin I (5), violin II (5). Manuscript reproduction; performance markings in pencil. 30 pp. of music. |
| folder 17 | WT8. Palestrina: In Festo Transfigurationis Domini. Transcribed for Brass Quartet by Gardner Read. Pencil MS with colored-pencil annotations, bound. 6 pages of music. |
| folder 18 | WT9. Palestrina: Laudate Dominum in Tympanis. Transcribed for Triple Brass choir by Gardner Read. Ink MS with colored-pencil annotations, bound. 16 pages of music. |
Box 78
| folder 19 | WS1. Sketch for a Chorale, version 1. For women’s voices. Manuscript in pencil. 2 pp. of music. |
| folder 20 | WS1. Sketch for a Chorale, version 2. For women’s voices. Manuscript in pencil. 4 pp. of music. |
| folder 21 | WS2. Birthday Greeting to Nicolas Slonimsky. Unspecified instrumentation. Manuscript in pencil. 2 pp. of music. |
| folder 22 | WS3. For Sarah Caldwell’s Opera Company Fundraiser. For soprano, tenor, and baritone. Manuscript in pencil. 2 pp. of music. |
| folder 23 | Unidentified sketch (pages numbered pp. 7–8). Manuscript in pencil. 2 pp. of music. |
| folder 24 | Unidentified fragments. MS in pencil. 3 pages of music. |
| folder 25 | Twelve Tone Rows. Analysis of rows from works by Arnold Schoenberg and Alban Berg. MS in pencil. 1 page of music. |
Box 79
Folio I
| sleeve 1 | Symphony No. 1 in A minor, Op. 30. New York Philharmonic-Symphony Orchestra; John Barbirolli, conductor. 5 November 1937. Carnegie Hall, New York, NY. Aluminin base sound disc. 2 sides. |
| sleeve 2 | Symphony No. 1 in A minor, Op. 30 (cont.). |
| sleeve 3 | Symphony No. 1 in A minor, Op. 30 (cont.). |
| sleeve 4 | Symphony No. 1 in A minor, Op. 30 (cont.). From Sketches of the City, Op. 26: Fog. National High School Orchestra; Frederick Stock, conductor. 11 August 1940. Interlochen Bowl, National Music Camp, Interlochen, Michigan Aluminin base sound disc. 2 sides. |
| sleeve 5 | Suite for String Quartet, Op. 33. 10 August 1940. National Music Camp, Interlochen, Michigan. Aluminin base sound disc. 2 sides. |
| sleeve 6 | Suite for String Quartet, Op. 33 (cont.). |
| sleeve 7 | Passacaglia and Fugue, Op. 34a. Rochester Civic orchestra; Howard Hanson, conductor. 26 October 1939. Kilbourn Hall, Eastman School of Music, Rochester, New York. Aluminin base sound disc. 2 sides. |
| sleeve 8 | From A Lute of Jade, Op. 36. Erna-Mae Gilcher with the Rochester Civic Orchestra; Howard Hanson, conductor. Kilbourn Hall, Eastman School of Music, Rochester, New York. Aluminin base sound disc. 2 sides. |
| sleeve 9 | From A Lute of Jade, Op. 36 (cont). Prelude and Toccata, Op. 43. Rochester Philharmonic Orchestra; Howard Hanson, conductor. 29 April 1937. Eastman Theatre, Rochester, New York. Aluminin base sound disc. 2 sides. |
| sleeve 10 | Prelude and Toccata, Op. 43. NBC Symphony Orchestra; Frank Black, conductor. 22 April 1941. NBC Studios, Radio City, New York, New York. Aluminin base sound disc. 2 sides. |
| sleeve 11 | Fantasy for Viola and Orchestra, Op. 38. Julia Wilkinson, viola; Rochester civic Orchestra; Howard Hanson, conductor. 22 April 1937. Kilbourn Hall, Eastman School of Music, Rochester, New York. Prayers of Steel. Op. 26a, No. 1. Eastman School Symphony Band; Frederick Fennell, conductor. 26 April 1937. Eastman Theatre, Rochester, New York. Aluminin base sound disc. 2 sides. |
| sleeve 12 | Where Corals Lie, Op. 49. E. T. H. S. Chorus; Hadassah McGiffen; Sadie Rafferty, conductor. 19 November 1939. NBC Studios, Chicago, Illinois. Aluminin base sound disc. 1 side. |
Folio II
| sleeve 1 | Symphony No. 2, Op. 45. Boston Symphony Orchestra; Gardner Read, conductor. 27 November 1943. Symphony Hall, Boston, Massachusetts. Glass base sound disc. 2 sides. |
| sleeve 2 | Symphony No. 2, Op. 45 (cont.). |
| sleeve 3 | Symphony No. 2, Op. 45 (cont.). |
| sleeve 4 | Symphony No. 2, Op. 45 (cont.). |
| sleeve 5 | Sketches of the City, Op. 26. Rochester Philharmonic Orchestra; Howard Hanson, conductor. 12 December 1935. Eastman Theatre, Rochester, New York. Aluminin base sound disc. 2 sides. |
| sleeve 6 | Sketches of the City, Op. 26 (cont.). |
| sleeve 7 | Night Flight, Op. 44. Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor. 27 April 1944. Eastman Theatre, Rochester, New York. Glass base sound disc. 2 sides. |
| sleeve 8 | Songs for a Rainy Night, Op. 48. Mac Morgan; Eastman School Junior Symphony Orchestra; Gardner Read, conductor. 27 April 1942. Eastman Theatre, Rochester, New York. Aluminin base sound disc. 2 sides. |
| sleeve 9 | The Magic Hour, Op. 60. Millikin University Laboratory Choir; Carl Van Buskirk, conductor. 22 April 1945. WSOY Studios, Decatur, Illinois. Aluminin base sound disc. 1 side. |
| sleeve 10 | Prelude and Toccata, Op. 43. Pittsburgh Symphony Orchestra; Fritz Reiner, conductor. 2 November 1945. Syria Mosque, Pittsburgh, Pennsylvania. Aluminin base sound disc. 2 sides. |
| sleeve 11 | Night Flight, Op. 44. Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor. 28 April 1945. Eastman Theatre, Rochester, New York. Glass base sound disc. 1 side. |
| sleeve 12 | De Profundis, Op. 71. Harold Meek, horn; E. Power Biggs, organ. 17 November 946. Germanic Museum, Harvard University, Cambridge, Massachusetts. CBS Network. Acetate base sound disc. 2 sides. |
Folio III
| sleeve 1 | Symphony No. 1, Op. 30. Rochester Civic Orchestra; Howard Hanson, conductor. 12 April 1935. Kilbourn Hall, Eastman School of Music, Rochester, New York. Aluminin sound disc. 2 sides. |
| sleeve 2 | Symphony No. 1, Op. 30 (cont.). |
| sleeve 3 | Symphony No. 1, Op. 30 (cont.). Aluminin base sound disc. |
| sleeve 4 | Symphony No. 1, Op. 30 (cont.). Aluminin base sound disc. 1 side. |
| sleeve 5 | Symphony No. 1, Op. 30. New York Philharmonic Symphony; John Barbirolli, conductor. 5 November 1937. Carnegie Hall, New York, New York. Aluminin base sound disc. 2 sides. Duplicate recording. |
| sleeve 6 | Symphony No. 1, Op. 30 (cont.). |
| sleeve 7 | Symphony No. 1, Op. 30 (cont.). |
| sleeve 8 | Symphony No. 2, Op. 45. Boston Symphony Orchestra; Gardner Read, conductor. 27 November 1943. Symphony Hall, Boston, Massachusetts. Glass base sound disc. 2 sides. Duplicate recording. |
| sleeve 9 | Symphony No. 2, Op. 45 (cont.) |
| sleeve 10 | Symphony No. 2, Op. 45 (cont.) |
| sleeve 11 | Symphony No. 2, Op. 45 (cont.) |
| sleeve 12 | Where Corals Lie, Op. 49. Cleveland Heights Choir; Gardner Read, conductor. 20 December 1947. Masonic Auditorium. Aluminin base sound disc. 2 sides. |
Box 80
Folio IV
| sleeve 1 | First Overture, Op. 58. Rochester Philharmonic Orchestra; Guy Fraser Harrison, conductor. 15 February 1947. Eastman School of Music, Rochester, New York. Aluminin base sound disc. 2 sides. |
| sleeve 2 | First Overture, Op. 58 (cont.). 1 side. |
| sleeve 3 | Music for Piano and Strings, Op. 47a. Leonard Shure, piano; CBS Symphony Orchestra; Daniel Saidenberg, conductor. 12 February 1947. CBS Studio #4, New York, New York. Sound disc. 2 sides. |
| sleeve 4 | Music for Piano and Strings, Op. 47a (cont.). 2 sides. |
| sleeve 5 | Music for Piano and Strings, Op. 47a (cont.). 2 sides. |
| sleeve 6 | Music for Piano and Strings, Op. 47a (cont.). Festival Fanfare, Op. 83, No. 2. Boston University orchestra; Francis Findlay, conductor. 31 January 1951. Symphony Hall, Boston, Massachusetts. Aluminin base sound disc. 2 sides. |
| sleeve 7 | Where Corals Lie, Op. 49. Cleveland Heights Choir; Gardner Read, conductor. 20 December 1947. Masonic Auditorium, Cleveland, Ohio. Aluminin base sound disc. 2 sides. |
| sleeve 8 | Pennsylvaniana Suite, Op. 67. Pittsburgh Symphony Orchestra; Fritz Reiner, conductor. 21 November 1947. Syria Mosque, Pittsburgh, Pennsylvania. Acetate base sound disc. |
| sleeve 9 | Pennsylvaniana Suite, Op. 67 (cont.). 2 sides. |
| sleeve 10 | Pennsylvaniana Suite, Op. 67. Pittsburgh Symphony Orchestra; Fritz Reiner, conductor. 23 November 1947. Syria Mosque, Pittsburgh, Pennsylvania. Aluminin base sound disc. 2 sides. |
| sleeve 11 | Pennsylvaniana Suite, Op. 67 (cont.). |
| sleeve 12 | Pennsylvaniana Suite, Op. 67 (cont.). |
Folio V
| sleeve 1 | Threnody, Op. 66. George Hambrecht, flute; Eastman School Senior Symphony; Howard Hanson, conductor. 14 May 1949. Eastman Theatre, Rochester, New York. NBC Network. At Bedtime, Op. 84, No. 1. Harriet Hayes, soprano; Kenneth Manzer, piano. 21 May 1951. Recital Hall, College of Music, Boston, Massachusetts. Acetate base sound disc. 2 sides. |
| sleeve 2 | Dance of the Locomotives, Op. 57a. NBC Studio Orchestra; Carmen Dragon, conductor. 16 December 1949. NBC Studios, San Francisco, California. Standard School Broadcast No. 10. Acetate base sound disc. 2 sides. |
| sleeve 3 | Dance of the Locomotives, Op. 57a (cont.). |
| sleeve 4 | Dance of the Locomotives, Op. 57a (cont.). |
| sleeve 5 | Dance of the Locomotives, Op. 57a (cont.). |
| sleeve 6 | Sketches of the City, Op. 26. Second and third movements. NBC Studio Orchestra; Carmen Dragon, conductor. 16 March 1950. NBC Studios, San Francisco, California. Standard School Broadcast No. 20. Acetate base sound disc. 2 sides. |
| sleeve 7 | Suite for Organ, Op. 81. Julian Williams, organist. 25 September, 1950. Chapel, Pennsylvania College for Women, Pittsburgh, Pennsylvania. Acetate base sound disc. 2 sides. |
| sleeve 8 | Suite for Organ, Op. 81 (cont.). |
| sleeve 9 | Suite for Organ, Op. 81 (cont.). |
| sleeve 10 | Nine by Six, Op. 86. New England Conservatory of Music Wind Sextet. 27 April 1951. Jordan Hall, Boston, Massachusetts. Acetate base sound recording. 2 sides. |
| sleeve 11 | Eight Preludes on Old Southern Hymns, Op. 90. Samuel Walter, organist. 29 October 1951. Daniel L. Marsh Chapel, Boston University, Boston, Massachusetts. Acetate sound recording. 2 sides. |
| sleeve 12 | Eight Preludes on Old Southern Hymns, Op. 90 (cont.). |
Folio VI
| sleeve 1 | Sound Piece for Brass and percussion, Op. 82. Cincinnati Conservatory Brass Ensemble; Ernest N. Glover, conductor. 15 November 1950. Cincinnati, Ohio. Sound recording. 2 sides. |
| sleeve 2 | Night Flight, Op. 44. Louisville Orchestra; Nicolas Slonimsky, conductor. 6 February 1952. Columbia Auditorium, Louisville, Kentucky. Sound recording. |
| sleeve 3 | Arioso Elegiaca, Op. 91. Zimbler String Sinfonietta. 8 April 1953. Jordan Hall, Boston, Massachusetts. Sound recording. |
| sleeve 4 | Chorale and Fughetta, Op. 83a. Cincinnati Conservatory Brass Choir; Ernest N. Glover, conductor. 1 December 1954. Cincinnati, Ohio. Sound recording. |
| sleeve 5 | The Temptation of St. Anthony, Op. 56. Chicago Symphony Orchestra; Rafael Kubelik, conductor. 9 April 1953. Orchestra Hall, Chicago, Illinois. Sound recording. |
| sleeve 6 | All Day I Hear, Op. 48, No. 2. 15 May 1952. College of Music, Boston, Massachusetts. Toccata Giocosa, Op. 94. 13 May 1954. Louisville Orchestra; Robert Whitney, conductor. Sound recording. |
| sleeve 7 | The Temptation of St. Anthony, Op. 56. Boston Symphony Orchestra; Gardner Read, conductor. 19 March 1954. Symphony Hall, Boston, Massachusetts. Sound recording. |
| sleeve 8 | The Temptation of St. Anthony, Op. 56 (cont.). |
| sleeve 9 | Where Corals Lie, Op. 49. Evanston Township High School Festival Chorus; Sadie Rafferty, conductor. 15 May 1954. Beardsley Gymnasium, Evanston, Illinois. Sound recording. |
| sleeve 10 | Sea-Scapes, Op. 46. Roslyn Rensch, harp. 10 October 1950. Evanston, Illinois. Sound recording. |
| sleeve 11 | Unidentified sound recording. |
| sleeve 12 | Unidentified sound recording. |
Box 81
Folio VII
| sleeve 1 | Four Nocturnes, Op. 23. Edna-mae Cleeland, contralto; Eastman Little Symphony; Karl Van Hoesen, conductor. 3 April 1935. Kilbourn Hall, Eastman School of Music, Rochester, New York. Sound recording. |
| sleeve 2 | Four Nocturnes, Op. 23 (cont.). |
| sleeve 3 | Sketches of the City, Op. 26. Rochester Civic Orchestra; Howard Hanson, conductor. 19 April 1934. Kilbourn Hall, Eastman School of Music, Rochester, New York. Sound recording. |
| sleeve 4 | Sketches of the City, Op. 26 (cont.). |
Box 82
| item 1 | Unidentified LP. |
| item 2 | “Pennsylvania Suite” premiere, Part I. Pittsburgh Symphony Orchestra; Fritz Reiner, conductor. LP. |
| item 3 | “Pennsylvania Suite” premiere, Part II. Pittsburgh Symphony Orchestra; Fritz Reiner, conductor. LP. |
| item 4 | “Mr. Read Leaves the Stage” (?). LP. |
Box 13
| reel 1 | “The Creative Way.” Radio broadcast with Gardner Read and Dr. Kenneth D. Benne. 25 April 1958. WEEI Studios, Boston, Massachusetts. 7” audio reel. |
| reel 2 | “Our American Music,” No. 34. Radio broadcast with Gardner Read and Nicolas Slonimsky. 3 May 1957. WGBH-FM Studios, Boston, Massachusetts. 7” audio reel. |
| reel 3 | “Our American Music,” No. 34 (cont.). |
| reel 4 | “Voice of America” interview with Gardner Read and Wayne Hyde. 14 July 1964. 7” audio reel. |
| reel 5 | “Brand.” Version by James Forsyth after Ibsen; music by Gardner Read. 29 April 1963. BBC Studios, London, England. 7” audio reel. |
| reel 6 | Interview with Gardner Read and Jules Wolffers (discussing String Quartet No. 1, Op. 100.) and the Boston Fine Arts Quartet. 1 January 1959. WGBH-FM TV Studios, Boston, Massachusetts. 7” audio reel. |
| reel 7 | Selections from “A Program of Compositions By Gardner Read.” 5 April 1957. University of Arkansas. Recording includes Scherzino for Woodwind Quintet, Op. 24; From a Lute of Jade, Op. 36; Soundpiece for Brass and percussion, Op. 82; The Lamb, Op. 84, No. 3a; Mountain Song, Op. 69; The Unknown God, Op. 23, No. 2. 7” audio reel. |
| reel 8 | Nine by Six, Op. 86; Chorale and Fughetta, Op. 83a; Mountain Song, Op. 69; The Golden Harp, Op. 93; To a Skylark, Op. 51; The Reveille, Op. 89b. 7” audio reel. |
| reel 9 | Selections from “Music of Gardner Read.” Boston University Gardner Read Festival, 28 March 1963. Recording includes Piano Quintet, Op. 47. Sound Piece for Brass and Percussion, Op. 82. The Lamb, Op. 84, No. 3a; Sister, Awake, Op. 84, No. 2a; River Night, Op. 68, No. 2a; Three American Folk Songs, Op. 97. 7” audio reel. |
| reel 10 | Selections from “Music of Gardner Read.” Boston University Gardner Read Festival, 27 March 1963. Recording includes Sonata da Chiesa, Op. 61a; Songs to Children, Op. 76a; Sonata Brevis, Op. 80; Sonoric Fantasia No. 1, Op. 102. 7” audio reel. |
| reel 11 | Selections from “Music of Gardner Read.” Boston University Gardner Read Festival, 28 March 1963. For contents, see Reel 9 above. 7” audio reel. |
| reel 12 | Selections from University of Kansas Read Festival. Undated. Recording includes River Night; A Mountain Song, Op. 68; The Golden Harp, Op. 93; The Reveille, Op. 89b; Los Dioses Aztecas, Op. 107; Sound Piece, Op. 82; Threnody for Flute, Harp, and Strings, Op. 66a; Arioso Elegiaca for Strings, Op. 91; Night Flight, Op. 44; Symphony No. 3, Op. 75. 7” audio reel. |
Box 14
| reel 13 | Selections from Northern Illinois University Gardner Read Festival. 21 February 1964. Recording includes The Lamb, Op. 84, No. 3a; Sister, Awake, Op. 84, No. 2a; Los Dioses Aztecas, Op. 107; Nine by Six, Op. 86 (incomplete). 7” audio reel. |
| reel 14 | Selections from Northern Illinois University Gardner Read Festival. 21 February and 26 April 1964. Recording includes Sonata Brevis, Op. 80; From a Lute of Jade, Op. 36; Soundpiece for Brass and Percussion, Op. 82. 7” audio reel. |
| reel 15 | Selections from the WNYC American Music Festival Boston University Composers’ Program. Undated. Recording includes River Night; Lullaby for a Man-Child; From a Lute of Jade. 7” audio reel. |
| reel 16 | Symphony No. 1, Op. 30. New York Philharmonic Symphony Orchestra; John Barbirolli, conductor. 4 November 1937. Symphony No. II, Op. 45. Boston Symphony Orchestra; Gardner Read, conductor. 26 November 1943. Dubbed from acetate discs. 7” audio reel. |
| reel 17 | Passacaglia and Fugue; Six Preludes on Old Southern Hymns. David Craighead, organ. Eastman School of Music, Rochester, New York. Undated. 7” audio reel. |
| reel 18 | Selections from the WGBH broadcast of the Boston Symphony Orchestra, Richard Burgin, conductor. 23 and 25 October 1958. 7” audio reel. |
| reel 19 | Night Flight, Op. 44. Philadelphia Orchestra; Gardner Read, conductor. 9 November 1964. Night Flight, Op. 44. Philadelphia Orchestra; William Smith, conductor. 13 December 1978. Dance of the Locomotives, Op. 57a. Boston Pops Orchestra; Arthur Fiedler, conductor. 20 May 1978. 7” audio reel. |
| reel 20 | Partita for Small Orchestra, Op. 70. Eastman Little Symphony; Frederick Fennell, conductor. 4 May 1947. Spiritual, Op. 63. Oscar Zimmerman, double bass; Eastman Little Symphony; Frederick Fennell, conductor. 25 January 1948. Night Flight, Op. 44. Eastman Rochester Symphony Orchestra; Howard Hanson, conductor. 3 May 1962. 7” audio reel. |
| reel 21 | Concerto for Violoncello and Orchestra. Barry Sills, cello; New Haven Symphony Orchestra; Erich Kunzel, conductor. Dress rehearsal, 13 October 1975. 7” audio reel. |
| reel 22 | Concerto for Violoncello and Orchestra, Op. 55. World premiere. Barry Sills, cello; New Haven Symphony Orchestra; Erich Kunzel, conductor. 14 October 1975. 7” audio reel. |
| reel 22a | Copy of reel 22. |
| reel 23 | The Temptation of St. Anthony, Op. 56. Chicago Symphony Orchestra; Rafael Kubelik, conductor. 8 April 1953 (premiere performance). 7” audio reel. |
| reel 24 | The Temptation of St. Anthony, Op. 56. Boston Symphony Orchestra; Gardner Read, conductor. 19-20 March 1954. WGBH-FM broadcast. 7” audio reel. |
Box 15
| reel 25 | Copy of reel 24. |
| reel 26 | First Overture, Op. 58. Rochester Philharmonic Orchestra; Guy Fraser Harrison, conductor. NBC Network. 15 February 1947. Pennsylvaniana Suite, Op. 67. Pittsburgh Symphony Orchestra; Fritz Reiner, conductor. 21 November 1947 (premiere). Threnody, Op. 66a. George Hambrecht, flute; Eastman Senior Symphony Orchestra; Howard Hanson, conductor. 14 May 1949. 7” audio reel, dubbed from LP recording. |
| reel 27 | Excerpts from eight compositions by Gardner Read. Selections include: ending of First Overture, Op. 58; “Dance of the Queen of Sheba” and “Anthony’s Dance of Longing” from The Temptation of St. Anthony, Op. 56; beginning of Sound Piece, Op. 82; beginning of Incidental Music to Anderson’s The Golden Six, Op. 105; “John Riley,” from Pennsylvaniana Suite, Op. 67; from Vernal Equinox, Op. 96; “Huitzilopochtli, Dios de la Guerra,” from Los Dioses Aztecas, Op. 107; Night Flight, Op. 44. 7” audio reel. |
| reel 28 | Symphony No. 3. Pittsburgh Symphony Orchestra; Steinberg, conductor. Premiere. 7” audio reel. |
| reel 29 | “At Bedtime,” Op. 84, No. 1; “it Is Pretty in the City,” Op. 84, No. 4; “Songs to Children, Op. 76. Wilma Thompson, mezzo-soprano; Gardner Read, piano. Brookline Public Library, Massachusetts. 14 November 1956. “All Day I Hear,” Op 48, No. 2; “River Night,” Op. 68, No. 2; “From a Lute of Jade,” Op. 36. Wilma Thompson, mezzo soprano; Edna Smith, piano. Brookline Public Library, Massachusetts. 13 November 1958. 7” audio reel. |
| reel 30 | Sonata Brevis, Op. 80. Robert Koff, violin; Martin Boykan, piano. 27 December 1958 (premiere). Slosberg Concert Hall, Brandeis University, Waltham, Massachusetts. Incidental Music to Anderson’s “The Golden Six,” Op. 105. Boston University Orchestra members; Gardner Read, conductor. 30 April 1958 (premiere). Boston University Theatre, Boston, Massachusetts. 7” audio reel. |
| reel 31 | Invocation, Op. 135; Sonata Brevis, Op. 80. Joseph Fuchs and Arthur Balsam. Undated. 7” audio reel. |
| reel 32 | Suite for Organ, Op. 81. Julian Williams, organ. 25 September 1950 (premiere). Pennsylvania College for Women, Pittsburgh, Pennsylvania. 7” audio reel. |
| reel 33 | Suite for Organ, Op. 81 (Anthony Newman); Suite for String Quartet, Op. 33 (National Music Camp student quartet); From a Lute of Jade, Op. 36a (premiere, Eastman School of Music); Sketches of the City, Op. 26 (Rochester Philharmonic Orchestra; Howard Hanson, conductor); Where Corals Lie, Op. 49 (Cleveland Heights Choir); Eight Preludes on Old Southern Hymns, Op. 90 (premiere, Samuel Walter); Sound Piece for Brass and Percussion (Cincinnati Conservatory Brass Ensemble); Where Corals Lie, Op. 49 (Evanston High School Festival); “Fog” from Sketches, Op. 26, No. 1 (National High School Orchestra); Sea Scapes, Op. 46 (Roslyn Rensch). Undated. 7” audio reel. |
| reel 34 | Chorale and Fughetta, Op. 83a (Boston University Brass Ensemble, 1953); Mountain Song, Op. 69 (1946); The Golden Harp, Op. 93 (Choral Art Society, Max Miller, conductor, 1952); To a Skylark, Op. 51 (1939); The Reveille, Op. 89b (premiere, Choral Art Society, Brass Ensemble, Gardner Read, conductor, 1962). 7” audio reel. |
| reel 35 | Sonoric Fantasia No. 4. Leonard Raver, organ; John Grimes, percussion. 6 June 1977. Trinity College, Hartford, Connecticut. Chorale and Fughetta. Boston Conservatory Brass Ensemble; Chester Roberts, conductor. 9 December 1974. Boston Conservatory, Boston, Massachusetts. 7” audio reel. |
| reel 36 | Nine by Six, Op. 86. 6 April 1959. School of Fine Arts Ensemble, University of Kansas, Lawrence, Kansas. River Night, Op. 68, No. 2a. 14 May 1960. Boston University Choral Arts Society; Allen Lannom, conductor. Three Preludes on Old Southern Hymns, Op. 90. Frederick Swann, organ; Riverside Church, New York, New York. Threnody, Op. 66a. 9 May 1957. Vassar College Orchestra; Boris Koutzen, conductor. 7” audio reel. |
| reel 37 | Arioso Elegiaca, Op. 91. 8 April 1953 (premiere). Zimbler String Sinfonietta. Jordan Hall, Boston, Massachusetts. Incidental Music to “The Scarecrow,” Op. 103. 1 February 1958 (premiere). Merle Puffer, tenor; Samuel Morris, harpsichord. WGBH-TV broadcast, Cambridge, Massachusetts. Six Intimate Moods, Op. 35. April 1953. Wilda Tinsley, violin; unidentified, piano. Belmont College School of Music, Nashville, Tennessee. 7” audio reel. |
Box 16
| reel 38 | Read, Gardner. Arioso Elegiaca for Strings. Schuller, Gunther. Fantasy for Unaccompanied Cello (W. Conable, cellist). Ives, Charles. The Unanswered Question. 7 March 1966. The Chamber Ensemble WGBH-FM; James Rives Jones, conductor. 7” audio reel. |
| reel 39 | Symphony No. 4, Op. 92. 30 January 1970 (world premiere). Cincinnati Symphony Orchestra; Erich Kunzel, conductor. WGUC (University of Cincinnati) broadcast. 7” audio reel. |
| reel 40 | Symphony No. 4, Op. 92 (cont.). 7” audio reel. |
| reel 41 | Vernal Equinox, Op. 96. Brockton Orchestral Society; Moshe Paranov, conductor. West Junior High School, Brockton, Massachusetts. 12 April 1955 (premiere). Vernal Equinox, Op. 96. Boston University Symphony Orchestra; Gardner Read, conductor. 2 March 1959. Dance of the Locomotives, Op 57a. Boston Pops Orchestra; Arthur Fiedler, conductor. WCRB-FM broadcast. 31 May 1961. Arioso Elegiaca, Op. 91. The Chicago Strings; Francis Akos, conductor. University Center Ballroom, Northern Illinois University, DeKalb, Illinois. 23 February 1964. 7” audio reel. |
| reel 42 | Vernal Equinox, Op. 96. Greater Boston Youth Symphony Orchestra; Walter Eisenberg, conductor. Jerusalem, Israel. 18 August 1970. Prayers of Steel, Op. 26, No. 3a. MIT Concert Band; John Corley, conductor. Kresge Auditorium, 15 May, 1971. Though I Speak with the Tongues of Men, Op. 109. University of Vermont Choral Union; James Chapman, conductor. Burlington, Vermont, 18 April 1969. Sonoric Fantasia No. 2, Op. 123. Roman Totenberg, violin; Boston University Symphony Orchestra; Gardner Read, conductor. War Memorial Auditorium, 26 February 1966 (premiere). 7” audio reel. |
| reel 43 | Toccata Giocosa, Op. 94. Louisville Orchestra; Robert Whitney, conductor. Columbia Auditorium, Louisville, Kentucky. 20 March 1954 (premiere). Toccata Giocosa, Op. 94. Grosses Orchester des Berliner Rundfunks; Adolf Fritz Guhl, conductor. Deutschen Staatsoper, East Berlin, Germany. 22 May 1959. Dunlap’s Creek: A Folk Hymn, Op. 67, No. 1a. Boston University Symphonic Band; Lee Chrisman, conductor. 1 March 1960. Concert Hall, School of Fine and Applied Arts, Boston, Massachusetts. Prayers of Steel, Op. 26, No. 3a. Boston University Symphonic Band; Lee Chrisman, conductor. Concert Hall, School of Fine and Applied Arts, Boston, Massachusetts. 28 March 1959 (premiere). 7” audio reel. |
| reel 44 | String Quartet No. 1, Op. 100. Quiet Music for String, Op. 65. National Gallery Orchestra; Bales, conductor. Washington, D. C. Premiere. Undated. 7” audio reel. |
| reel 45 | String Quartet No. 1, Op. 100. Boston Fine Arts Quartet. WGBH-TV, 1 January 1959. 7” audio reel. |
| reel 46 | String Quartet No. 1, Op. 100. Eastman String Quartet. Kilbourn Hall, Eastman School of Music. 2 May 1959. Prelude and Toccata, Op. 43. Indianapolis Symphony Orchestra; Izler Solomon, conductor. 16 January 1960. 7” audio reel. |
| reel 47 | Sonoric Fantasia No. 1, Op. 102. Henrietta Pelta, celesta; Marjorie Call, harp; Malcolm Hamilton, harpsichord. Sonata Brevis, Op. 80. Stanley Plummer, violin; Natalie Limonick, piano. UCLA, 1966. 7” audio reel. |
| reel 48 | Los Dioses Aztecas, Op. 107. Manhattan Percussion Ensemble; Paul Price, conductor. Manhattan School of Music, New York, New York. 8 March 1960 (premiere). Incidental Music to Barrie’s “The admirable Crichton,” Op. 98. Boston University students; Gardner Read, conductor. Boston University Theatre, 28 November 1955. 7” audio reel. |
| reel 49 | Los Dioses Aztecas, Op. 107. University of Illinois Percussion Ensemble; Jack McKenzie, conductor. Urbana, Illinois, 19 April 1960. 7” audio reel. |
| reel 50 | Los Dioses Aztecas, Op. 107. Indiana University Percussion Ensemble; George Gabor, conductor. 15 April 1969. 7” audio reel. |
Box 17
| reel 51 | The Prophet, Op. 110. Symphony Hall, Boston, Massachusetts. 23 February 1977 (premiere). 7” audio reel. |
| reel 52 | The Prophet, Op. 110 (incomplete). Symphony Hall, Boston, Massachusetts. 23 February 1977 (premiere). 7” audio reel. |
| reel 53 | Incidental Music to “Pilate.” Boston College, 1961. Incidental Music to “Brand.” Boston University, 1961 (premiere). 7” audio reel. |
| reel 53a | Incidental Music to “Brand.” Boston University, 1961 (premiere). 7” audio reel. |
| reel 53b | Duplicate of reel 53a. |
| reel 54 | Chants d’Auvergne, Op. 117. Boston University Chorus and Instrumental Ensemble; James Cunningham, conductor. 23 November 1965 (premiere). 7” audio reel. |
| reel 55 | Chants d’Auvergne, Op. 117 (cont.). 7” audio reel. |
| reel 56 | Sonoric Fantasia No. 2. Roman Totenberg, violin; Boston University Orchestra; Gardner Read, conductor. Vernal Equinox (UCLA). Vernal Equinox (GBYSO; Sanders, conductor). Undated. 7” audio reel. |
| reel 57 | Sonoric Fantasia No. 2. Roman Totenberg, violin; Boston University Symphony Orchestra; Gardner Read, conductor. 26 and 27 February, 19– (premiere). 7” audio reel. |
| reel 58 | Haiku Seasons, Op. 126. Gretchen Hackbarth, Steven Weiss, Karen MacDonald, and Robert Osolinski, speakers; Phillip Oliver, keyboard; Betsy Morse, harp; Peter Carnevale, Richard Ettelson, and Ronald Holdman, percussion; Gardner Read, conductor. Boston University. Premiere. Undated. 7” audio reel. |
| reel 59 | Haiku Seasons, Op. 126. Eastman School of Music Percussion Ensemble. 12 September 1971. 7” audio reel. |
| reel 60 | Haiku Seasons, Op. 126. Northern Illinois University ensemble; Gardner Read, conductor. 14 March 1972. 7” audio reel. |
Box 18
| reel 61 | Haiku Seasons, Op. 126. University of Texas, 21 March 1972. Chorale and Fughetta, Op. 83a. Cincinnati Conservatory Brass Choir; Ernest Glover, conductor. 1 December 1954 (premiere). All Day I Hear, Op. 48, No. 2. Dean Bouzianis, baritone; Marilyn Fogg, piano. College of Music, Boston University, 15 May 1952. At Bedtime, Op. 84, No. 1. Boston University, 21 May 1951. Nocturne in a Deserted Brickyard; Prayers of Steel, Op. 26. NBC Studio Orchestra; Carmen Dragon, conductor. 16 March 1950. 7” audio reel. |
| reel 62 | Haiku Seasons, Op. 126. University of Kansas ensemble; Price, conductor. 1973. 7” audio reel. |
| reel 63 | Suite for Organ: Preamble. Elizabeth Sollenberger, organ. Trinity Church, Boston, Massachusetts, 5 April 1976. Sonoric Fantasia No. 4, Op. 133. Elizabeth Sollenberger, organ; Neil Grover, percussion. Trinity Church, Boston, Massachusetts, 5 April 1976 (premiere). Petite Pastorale, Op. 40a. Faculty Little Symphony; Guy Fraser Harrison, conductor. National Music Camp, 1 August 1940. Music for Piano and Strings, Op. 47a. Leonard Shure, piano; CBS Symphony Orchestra; Daniel Saidenburg, conductor. CBS Studios, New York, New York, 12 February 1947 (premiere). Festival Fanfare, Op. 82, No. 2. Boston University Symphony Orchestra; Francis Findlay, conductor. Symphony Hall, Boston, Massachusetts, 31 January 1951. Nine by Six, Op. 86. Student ensemble; Garner Read, conductor. 27 April 1951 (premiere). 7” audio reel. |
| reel 64 | Trinity Church concert: Music of Gardner Read. Suite for Organ, Op 81; Elegiac Aria, Op. 91 (George Faxon, organ). Jungle Gardens by Moonlight, Op. 54, No. 2a (Faye Seeman, harp). Six Preludes on Old Southern Hymns, Op. 112 (George Faxon, organ). Invocation, Op. 135 (Jeffrey Price, trombone; R. Rice Nutting, organ). Variations on a Chromatic Ground, Op. 121 (George Faxon, organ). Sinfonia da Chiesa, Op. 61b (premiere). 13 March 19–. 7” audio reel. |
| reel 65 | The Hidden Lute, Op. 132. Joan Heller, soprano; Charles Fussell, conductor. Boston University Omnibus concert, 23 April 1985 (premiere). Prayers of Steel, Op. 26, No. 3a. And There Appeared Unto Them Tongues As Of Fire, Op. 134. David Craighead, organ. St. Joseph’s Cathedral, Hartford, Connecticut. American Guild of Organists Convention, 28 June 1977 (premiere). 7” audio reel. |
| reel 66 | Symphony No. 3. National Gallery Orchestra; Richard Bales, conductor. Washington, D. C., 27 May 1979. 7” audio reel. |
| reel 66a | Symphony No. 3 (cont.). 7” audio reel. |
| reel 67 | Symphony No. 4, Op. 92. Cleveland Orchestra; Lorin Maazel, conductor. WCRB-FM broadcast, 11 June 1980 (recorded 12 April 1980). Lecture by Gardner Read, 11 April 1980, Severance Chamber Music Hall. 7” audio reel. |
| reel 68 | Symphony No. 4, Op. 92 (cont.). 7” audio reel. |
| reel 69 | Haiku Seasons, Op. 126. ASUC Conference, University of Cincinnati College-Conservatory of Music. Leslie Dunner, conductor. 9 April 1981. Sonoric Fantasia No. 3, Op. 125. University of Massachusetts Percussion Ensemble; Peter Tanner, conductor. 12 March 1980. 7” audio reel. |
| reel 70 | 7” audio reel.cas, Op. 107. Recording session for Recording #444, Composers Recordings Inc. Paul Price Percussion Ensemble; Paul Price, conductor. 24 June 1980. 7” audio reel. |
| reel 70a | Los Dioses AzteLos Dioses Aztecas, Op. 107. Recording session (cont.). |
| reel 70b | Los Dioses Aztecas, Op. 107. Recording session (cont.). 4” audio reel. |
Box 19
| reel 71 | Los Dioses Aztecas, Op. 107. Edited tape of recording session. 7” audio reel. |
| reel 72 | Symphony No. 4, Op. 92. Cleveland Orchestra; Lorin Maazel, conductor. Dub from reel 67? 7” audio reel. |
| reel 72a | Symphony No. 4, Op. 92 (cont.). 7” audio reel. |
| reel 73 | Excerpts from Villon, Op. 122 Act I, from Scenes 1 and 3; Act II, from scene 1; Act III, from scene 1, 2, and 3. Robert Grayson as Francois; Charlotte Ellsaesser as Catherine; Melanie Sonnenberg as Marthe; Ralph Bassett as William. Paulette Haupt-Nolen and H. Wesley Balk, moderators. First Opera America Composer-Librettist Showcase and Seminar; Fairmont Hotel, New Orleans, Louisiana. 7 January 1981. 7” audio reel. |
| reel 74 | Nineteenth Annual Festival of Contemporary Music, DePauw University. Mennin, Canzona; D. H. White, Patterns; Hanson, Chorale and Alleluia. Gardner Read: Sound Piece for Brass and Percussion; Dunlap’s Creek: A Folk Hymn; The Reveille. University Band and University Concert Choir; Hanna, White, and Read, conductors. Undated. 7” audio reel. |
| reel 75 | Nineteenth Annual Festival of Contemporary Music, DePauw University. Barber, First Essay. Gardner Read: Night Flight; Vernal Equinox; Symphony No. 4; Prelude and Toccata. DePauw Symphony Orchestra; Gardner Read, conductor. Undated. 7” audio reel. |
| reel 76 | Music for Chamber Winds, Op. 141. Four performances: The Chamber Winds; Gardner Read, conductor; Gordon College Chapel, Wenham, Massachusetts, 19 February 1981 (premiere). The Chamber Winds; Jeffrey Price, conductor; Grace Baptist Church, Bristol, Connecticut, 27 February 1981. The Chamber Winds; Jeffrey Price, conductor; Parkway Assembly of God Church, Norwalk, Connecticut, 28 February 1981. Lowell Wind Orchestra; Willis Traphagan, conductor; Fisher Recital Hall, Music Department, Lowell University, Lowell, Massachusetts, 11 December 1986. |
| reel 77 | And there appeared unto them tongues as of fire, Op. 134. David Craighead, organ. American Guild of Organists New England Regional Convention, 1977. 7” audio reel. |
| reel 78 | Galactic Novae, Op. 136. NPR Concert Hall, 12 March 1981 (premiere). Faulty recording. 7” audio reel. |
| reel 79 | Our American Music, Program 30. Gardner Read, host; Daniel Pinkham, guest. 1957. 7” audio reel (1 of 2). |
| reel 80 | Our American Music, Program 30 (cont.). 7” audio reel (2 of 2). |
| reel 81 | Galactic Novae. Leonard Raver, organ; Gordon Gottlieb, percussion. Premiere. Undated. “And there appeared to them tongues as of fire.” David Craighead, organ. Premiere. Undated. 7” audio reel. |
Box 20
| reel 82 | Toccata Giocosa, Op. 94. Seattle Youth Symphony Orchestra; Vilem Sokol, conductor. Opera House, Seattle, Washington, 17 May 1982. The Chicago Anthem, Op. 142. Pamela Gore, soprano; David Carney, piano. NECM Studio, Boston, 16 May 1983. Faulty recording. 7” audio reel. |
| reel 83 | Invocation, Op. 135. Jeffrey Price, trombone; R. Rice-Nutting, organ. Christ Church, Hamilton, Massachusetts, 17 March 1978. Sonata Brevis, Op. 80. Joseph Fuchs, violin; Arthur Balsam, piano. WGBH Studios, Cambridge, Massachusetts, 26 April 1960. 7” audio reel. |
| reel 84 | Sonoric Fantasia No. 1, Op. 102. Henrietta Pelta, celesta; Marjorie Call, harp; Malcolm Hamilton, harpsichord. UCLA, 30 March 1966. Sonata Brevis, Op. 80. Roman Totenberg, violin; Edith Stearns, piano. School of Fine and Applied Arts, Boston University, 27 March 1963. 7” audio reel. |
| reel 85 | Symphony No. 4, Op. 92. Cleveland Orchestra; Lorin Maazel, conductor. CRI recording of WCRB broadcast 3 January 1987. 7” audio reel. |
| reel 86 | Barbara Harbach plays American Hymn Preludes. Barbara Harbach, organ. Recording by WXXI-FM, Rochester, New York. 7” audio reel. |
| reel 87 | Epistle to the Corinthians, Op. 144. Cornell Chorale, Brass Choir, and Organ; Thomas A. Sokol, conductor. Sage Chapel, Cornell University. 10 May 1987 (premiere). 7” audio reel. |
| reel 88 | Prelude and Toccata, Op. 43. Boston Symphony Orchestra; Richard Burgin, conductor. Undated. 4” audio reel. N.B. Not included in Gardner Read’s original numbering. |
| reel 89 | [Toccata, Op. 43?] Undated. 5” audio reel. Note in case: “Double exp.; (?) – Toccata.” N.B. Not included in Gardner Read’s original numbering. |
Box 70
| folder 16 | List of cassettes transferred from reel-to-reel tapes; table lists the contents of tapes 1–23 (i.e., performances of Read compositions transferred from numbered audio reels in sub-series B); typescript. 1 index card and 5 pages. |
Box 21
| tape 1 | Scherzino for Woodwind Quintet, Op. 24. From a Lute of Jade, Op. 36. Sound Piece for Brass and Percussion, Op. 82. The Lamb, Op. 84, no. 3b. Mountain Song, Op. 69. The Unknown God, Op. 23. Nine by Six, Op. 86. Chorale and Fughette, Op. 83. Threnody, Op. 66a. Sound Piece, Op. 82. The Lamb, Op. 84, no. 3b. Sister, Awake, Op. 84, no. 2b. River Night, Op. 68, no. 2a. Three American Folksongs, Op. 97. The Lamb, Op. 84, no. 3b. Sister, Awake, Op. 84, no. 2b. The Aztec Gods, Op. 107. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 2 | Sonata Brevis, Op. 80. Sonoric Fantasia No. 1, Op. 102. Sonata da Chiesa, Op. 61. Arioso Elegiaca, Op. 91. Songs to Children, Op. 76. River Night, Op. 68, no. 2a. Mountain Song, Op. 69. The Golden Harp, Op. 93. The Reveille, Op. 89. The Aztec Gods, Op. 107. Sound Piece, Op. 82. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 3 | Piano Quintet, Op. 47. Nine by Six, Op. 86. Sonata Brevis, Op. 80. From a Lute of Jade, Op. 36. Night Flight, Op. 44. Symphony No. 3, Op. 75. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 4 | “The Creative Way” [talk]. “Voice of America” [talk]. River Night, Op. 68, no. 2a. Lullaby for a Man-Child, Op. 76, no. 1b. From a Lute of Jade, Op. 36. Passacaglia and Fugue, Op. 34. Preludes on Old Southern Hymns, Op. 112. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 5 | Prelude and Toccata, Op. 43. First Overture, Op. 58. The Temptation of St. Anthony, Op. 56. All Day I Hear, Op. 48, no. 2. River Night, Op. 68, no. 2a. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 6 | Partita for Small Orchestra, Op. 70. “Our American Music” [talk]. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 7 | Songs to Children, Op. 76. River Night, Op. 68, no. 2a. Cello Concerto, Op. 55 (rehearsal and premiere performance). The Golden Harp, Op. 93. To a Skylark, Op. 51. Mountain Song, Op. 69. Chorale and Fughette, Op. 83. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 8 | The Aztec Gods, Op. 107. Music for “The Admirable Crichton,” Op. 98. Chorale and Fughetta, Op. 83. Interview [with Gardner Read and Jules Wolffers and the Boston Fine Arts Quartet, 1 January 1959]. String Quartet No. 1, Op. 100. Threnody, Op. 66. At Bedtime, Op. 84, no. 1. It is Pretty in the City, Op. 84, no. 4. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 9 | Suite for Organ, Op. 81. Nine by Six, Op. 86. River Night, Op. 68. Arioso Elegiaca, Op. 91. Night Flight, Op. 44 [includes talk]. Dance of the Locomotives, Op. 57. Vernal Equinox, Op. 96. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 10 | Vernal Equinox, Op. 96. Dance of the Locomotives, Op. 57. Suite for Organ, Op. 81. Arioso Elegiaca, Op. 91. Music for “The Scarecrow,” Op. 103. Vernal Equinox, Op. 96. Prayers of Steel, Op. 26. Though I Speak, Op. 109. Sonoric Fantasia No. 2, Op. 123. Music for Chamber Winds, Op. 141. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 11 | The Temptation of St. Anthony, Op. 56. Toccata Giocosa, Op. 94. Music for “Pilate,” Op. 114. Galactic Novae, Op. 136 [incomplete]. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 12 | Music for “Brand,” Op. 113. Night Flight, Op. 44. Sonoric Fantasia No. 2, Op. 123. Variations on a Chromatic Ground, Op. 121. String Quartet No. 1, Op. 100. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 13 | Symphony No. 3, Op. 75. Songs to Children, Op. 68. Sonoric Fantasia No. 2, Op. 125. Haiku Seasons, Op. 126. Dunlap’s Creek, Op. 67, no. 1. The Reveille, Op. 89. Sound Piece, Op. 81. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 14 | Music for “The Golden Six,” Op. 105. Symphony No. 3, Op. 75. Symphony No. 4, Op. 92. Sonoric Fantasia No. 4, no. 133. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 15 | The Prophet, Op. 110. Sonata Brevis, Op. 80. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 16 | Sonoric Fantasia No. 3, Op. 125. Pennsylvaniana, Op. 67. Threnody, Op. 66. Vernal Equinox, Op. 96. Six Preludes on Old Southern Hymns, Op. 112 [incomplete]. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 17 | Suite for Organ, Op. 81; Elegiac Aria, Op. 91a; Jungle Gardens by Moonlight, Op. 54, no. 2; Invocation, Op. 135; Sinfonia da Chiesa, Op. 61b; Arioso Elegiaca, Op. 91a; Los Dioses Aztecas, Op. 107. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 18 | Sonoric Fantasia No. 4, Op. 133; Music for Piano and Strings, Op. 47a; Festival Fanfare, Op. 83, no. 2; Nine by Six, Op. 86; Preamble, Op. 81, no. 1; Sonata Brevis, Op. 80. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 19 | “Our American Music” [talk, with Daniel Pinkham, guest composer]; Haiku Seasons, Op. 126. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 20 | The Aztec Gods, Op. 107; Symphony No. 4, Op. 92. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 21 | Sonoric Fantasia No. 1, Op. 101; Sonata Brevis, Op. 80; Haiku Seasons, Op. 126; Vernal Equinox, Op. 96. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 22 | Haiku Seasons, Op. 126; Toccata Giocosa, Op. 94; Dunlaps Creek, Op. 67, no. 1; Prayers of Steel, Op. 26, no. 3; Haiku Seasons, Op. 126; Invocation, Op. 135; Prelude and Toccata, Op. 43; Vernal Equinox, Op. 96. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 23 | Villon, Op. 122; Music for Chamber Winds, Op. 141; Tongues of Fire, Op. 134. Audiocassette tape. N.B. Audio transferred from reel-to-reel tapes; see Box 70/16 for index. |
| tape 24 | Poem, [Op. 31a]. Rehearsal and concert. Patricia McCarty, viola; Martin Amlin, piano. Lexington. March 16, 1997. Audiocassette tape. |
| tape 25 | Poem, Op. 31. Ralph Lockwood, horn; Albinas Prizgurtas, organ. A Christmas Pastorale, Op. 124. Cynthia Cummings, violin; David Owens, organ. Canzona di notte, Op. 127. Mike Pissano, guitar. Audiocassette tape. |
| tape 26 | Recording session: Read Organ Works. Includes: [Passacaglia and Fugue in D Minor, Op. 34]. Live recording in Marsh Chapel. Audiocassette tape (1 of 4). |
| tape 27 | Recording session: Read Organ Works. Includes: [Passacaglia and Fugue in D Minor, Op. 34; Elegaic Aria, Op. 91a; And there appeared unto them tongues as of fire, Op. 134; Suite for Organ, Op. 81]. Live recording in Marsh Chapel. Audiocassette tape (2 of 4). |
| tape 28 | Recording session: Read Organ Works. Includes: [Suite for Organ, Op. 81; Chorale-Fantasia on Good King Wenceslas, Op. 50]. Live recording in Marsh Chapel. Audiocassette tape (3 of 4). |
| tape 29 | Recording session: Read Organ Works. Includes: [Suite for Organ, Op. 81]. Live recording in Marsh Chapel. Audiocassette tape (4 of 4). |
| tape 30 | Recording session II: Read Organ Works. Live recording in Marsh Chapel. Audiocassette tape (1 of 2). No tracklist given. |
| tape 31 | Recording session II: Read Organ Works. Live recording in Marsh Chapel. Audiocassette tape (2 of 2). No tracklist given. |
| tape 32 | Six Intimate Moods, Op. 35. Maria Benotti, violin; Eda Mazo-Shylam, piano. Two performances: February 2, 1997; January 26, 1997. Audiocassette tape. |
| tape 33 | Six Intimate Moods, Op. 35. Maria Benotti, violin; Eda Mazo-Shylam, piano. Undated. Audiocassette tape. |
| tape 34 | D’Anna Fontunato, mezzo soprano; D. Keegan, piano. Music by Rossini, Mozart, Granados, Read: From a Lute of Jade, Op. 36, Foster, Malloy, Tilzer, and Fauré. January 30, 1995. Audiocassette tape. |
| tape 35 | A Tribute to Gardner Read. From a Lute of Jade, Op. 36; Songs for a Rainy Night, Op. 48; Fantasy-Toccata, Op. 148; Three Songs, Op. 68; Driftwood Suite, Op. 54; unidentified composition by John MacDonald; Nocturnal Visions, Op. 145. Tsai Performance Center, Boston University. September 25, 1998. Audiocassette tape. |
Box 22
| tape 36 | Night Flight, Op. 44. World Youth Symphony.1988. National Music Camp, Interlochen, MI. Audiocassette tape. |
| tape 37 | Piano Quintet, Op. 47. Lydian String Quartet; John MacDonald, piano. June 16, 2001. Lydian String Quartet Chamber Music Festival, Brandeis University. Audiocassette tape. |
| tape 38 | Duplicate of tape 37. |
| tape 39 | Songs for a Rainy Night, Op. 48; Three Songs, Op. 68; From a Lute of Jade, Op. 36. D’Anna Fortunato, mezzo-soprano; John McDonald, piano. Undated. Audiocassette tape. |
| tape 40 | [Leonard] Raver Concert, Hammond Castle. Bach: Toccata in C; Read: Chorale-Fantasia on Good King Wenceslas, Op. 50; Elegiac Aria, Op. 91; Soler: Concerto in G Major; Persichetti: Prelude and Toccata; Read: Passacaglia and Fugue in D Minor, Op. 34; Schumann: Sketch, Canon; Widor: Symphony No. 6, Allegro. June 24, 1988. Audiocassette tape. |
| tape 41 | Virginia Dulaski Piano Recital. Read: Driftwood Suite, Op. 54; Galindo: Three Preludes; Albinez, Three Pieces; Méhul: Sonata in A Major; J. S. Bach: Partita in B-flat Major; Read: Sonata da Chiesa, Op. 61; American Circle, Op. 52. May 11, 1959. Phillips Gallery, Washington, DC. Audiocassette tape. |
| tape 42 | Concerto for Violoncello and Orchestra, Op. 55; Symphony No. 3, Op. 75. Undated. Audiocassette tape. |
| tape 43 | Sonata da Chiesa, Op. 61. (First take, unedited.) Joseph Holt, piano. Undated. Washington, DC. Audiocassette tape. |
| tape 44 | Sonata da Chiesa, Op. 61. (Second/final take, edited.) Joseph Holt, piano. Undated. Washington, DC. Audiocassette tape. |
| tape 45 | Sonata da Chiesa, Op. 61; Sonoric Fantasia No. 1, Op. 102. (Unedited tape.) Undated. Audiocassette tape. |
| tape 46 | A Concert of the Music of Gardner Read. Lecture: Why and How Composers Compose; Sonata da Chiesa, Op. 61; Nocturnal Visions, Op. 145; Sonata Brevis, Op. 80; String Quartet No. 1, Op. 100. Joseph Holt, piano; Richard Potter, baritone; Teri Lazar, violin; The Sunrise Quartet. May 10, 1992. Strathmore Hall. Audiocassette tape (1 of 2). |
| tape 47 | A Concert of the Music of Gardner Read (cont.). Audiocassette tape (2 of 2). |
| tape 48 | Pennsylvaniana, Op. 67. Pittsburgh Symphony Orchestra; Lorin Maazel, conductor. April 12, 1996. Audiocassette tape. |
| *** | Pennsylvaniana, Op. 67. Pittsburgh Symphony Orchestra; Lorin Maazel, conductor. April 13 and 14, 1996. Audiocassette tape. See tape 119. |
| tape 49 | Cape Ann Symphony Orchestra concert. Bernstein: Candide Overture; Barber: Knoxville: Summer 1914; Read: Pennsylvaniana Suite, Op. 67; Copland: Appalachian Spring. Kay George Roberts, conductor. May 7, 1988. Gloucester, MA. Audiocassette tape. |
| tape 50 | A Grand Concert. J. S. Bach: Sonata for Oboe and Organ; F. J. Haydn: selection from The Creation; Read: De Profundis, Op. 71; G. Mahler: selection from Rückert-Lieder; C. Franck: Prelude, Fugue, Variation; J. S. Bach: selection from Mass in B Minor; R. Wagner: selection from Die Meistersinger. April 11, 1994. Audiocassette tape. |
| tape 51 | Sonata Brevis, Op. 80. Matthew Coid, violin; Yolanda Liepa, piano. June 12, 1985. Opus One test record. Sonoric Fantasia No. 2, Op. 123. Roman Totenberg, violin; Boston University Orchestra; Gardner Read, conductor. February 26, 1966 (premiere). Boston. Audiocassette tape. |
| tape 52 | Sonata Brevis, Op. 80; Epistle to the Corinthians, Op. 144; Nocturnal Visions, Op. 145 (incomplete). Undated. Audiocassette tape. |
| tape 53 | Suite for Organ, Op. 81. Leonard Raver, organ. Undated. Marsh Chapel, Boston University. Audiocassette tape. |
| *** | N.B. Tape 54 omitted in numbering sequence. |
| tape 55 | D’Anna Fortunato [recording session]. At Bedtime, Op. 84, no. 1; Pretty In the City, Op. 84, no. 4; The Lamb, Op. 84, no. 3; Sister Awake, Op. 84, no. 2; When Moonlight Falls, Op. 23, no. 1; The Unknown God, Op. 23, no. 2; White Blossom, Op. 23, no. 3. Recorded by Bill Wolk, Music First. October 1, 1998. Audiocassette tape (1 of 3). |
| tape 56 | D’Anna Fortunato [recording session]. Lullaby for a Man-Child, Op. 76, no. 1; The First Jasmines, Op. 76, no. 2; Song of Innocence, Op. 76, no. 3. October 2, 1998. Audiocassette tape (2 of 3). |
| tape 57 | D’Anna Fortunato [recording session]. From a Lute of Jade, Op. 36: The River and the Leaf, no. 1; Ode, no. 2; Lullaby for a Dark Hour, Op. 68, no. 1; River Night, Op. 68, no. 2; As I Walk Through the Meadows, Op. 68, no. 3; The Moon, Op. 23, no. 4; The First Jasmines, Op. 76, no. 1; Night of All Nights, Op. 62; I Hear an Army, Op. 48, no. 3. October 3, 1998. Audiocassette tape (3 of 3). |
| tape 58 | Gardner Read, Composer. Sound Piece for Brass and Percussion, Op. 82. Eastman Wind Ensemble; Donald Hunsberger, conductor. February 2, 1996. ; Prelude and Toccata for Small Orchestra, Op. 43; Arioso Elegiaca, Op. 91; Night Flight, Op. 44. Eastman School Symphony Orchestra; Gardner Read, conductor. February 5, 1996. Kilbourn Hall, Eastman School of Music. Audiocassette tape. |
| tape 59 | Symphony No. 4, Op. 92. Undated. Audiocassette tape. |
| tape 60 | Read: Vernal Equinox, Op. 96; Vivaldi: Concerto in G Minor; Kabalevsky: Cello Concerto No. 2. Berkshire Symphony Orchestra; Feldman, conductor. November 15, 1996. Audiocassette tape. |
| tape 61 | Vernal Equinox, Op. 69. TBC Orchestra; Gardner Read, conductor. February 15, 1998. Church of the Covenant. Audiocassette tape. |
| tape 62 | String Quartet No. 1, Op. 100. Recording session, Tape #1. Boston Composers String Quartet. May 28, 1993. Audiocassette tape (1 of 10). |
| tape 63 | String Quartet No. 1, Op. 100. Recording session, Tape #2. Boston Composers String Quartet. May 28, 1993; June 2, 1993. Audiocassette tape (2 of 10). |
| tape 64 | String Quartet No. 1, Op. 100. Recording takes. [Boston Composers String Quartet.] November 22, 1993. Audiocassette tape (3 of 10). |
| tape 65 | String Quartet No. 1, Op. 100. Recording takes 1–35 and 36–66. [Boston Composers String Quartet.] November 22, 1993. Audiocassette tape (4 of 10). |
| tape 66 | String Quartet No. 1, Op. 100. Recording takes 1–66. [Boston Composers String Quartet.] Audiocassette tape (5 of 10). Case only; tape lacking. |
| tape 67 | String Quartet No. 1, Op. 100. Recording takes 67–104. [Boston Composers String Quartet.] November 22, 1993; November 23, 1993. Audiocassette tape (6 of 10). |
| tape 68 | String Quartet No. 1, Op. 100. Recording takes. [Boston Composers String Quartet.] November 23, 1993. Audiocassette tape (7 of 10). |
| tape 69 | String Quartet No. 1, Op. 100. Edited tape for NE CD. Boston Composers String Quartet. Edited April 29, 1994. Audiocassette tape (8 of 10). |
| tape 70 | String Quartet No. 1, Op. 100. Rough edit for CD (movements 2, 3, and 1). Boston Composers String Quartet. Undated. Audiocassette tape (9 of 10). |
| tape 71 | String Quartet No. 1, Op. 100. Rough edit (movements 1 and 4; movements 2 and 3). Boston Composers String Quartet. Undated. Audiocassette tape (10 of 10). |
| tape 72 | Sunrise String Quartet. Read: String Quartet [String Quartet No. 1, Op. 100?]; Schumann: Piano Quintet. May 2, 1993. Audiocassette tape. |
| tape 73 | Sonoric Fantasia No. 1, Op. 102. Recording takes 1–16; 17–37. Undated. Audiocassette tape. |
| tape 74 | Sonoric Fantasia No. 1, Op. 102. Undated. Edited tape for CD. Audiocassette tape. |
| tape 75 | The Aztec Gods, Op. 107. Eastman Percussion Ensemble; J. Beck, director. Undated. Audiocassette tape. |
| tape 76 | Songs of the Auvergne, Op. 117; The Reveille, Op. 89. Undated. University of Lowell. Audiocassette tape. |
| tape 77 | The Nashua Symphony Orchestra and Chamber Chorus in Concert. Vaughan-Williams: Serenade to Music; Read: Chants d’Auvergne, Op. 117; Widor: Toccata; Saint-Saens: Symphony No. 3, Op. 78. James Johnston and Royston Nash, conductors. November 23, 1985. St. Francis Xavier Church, Nashua, NH. Audiocassette tape. |
| tape 78 | Scenes from Villon, Op. 122. 1981. Opera America, New Orleans. Audiocassette tape. |
| tape 79 | Concerto for Piano and Orchestra, Op. 130. Eastman Philharmonia; Randall Hodgkinson, piano; David Effron, conductor. January 31, 1996. Eastman Theatre, Eastman School of Music. Audiocassette tape. |
| tape 80 | Duplicate of tape 78. N.B. Information on tape insert incorrect; see label on cassette tape and typescript label affixed to side of case. |
| tape 81 | The Hidden Lute, Op. 132. Joan Heller, soprano; Charles Fussel, conductor. [June 28, 1977] (premiere); [transferred to audiocassette tape] April 23, 1985. Boston University Omnibus Concert, Boston University School for the Arts. Audiocassette tape. |
| tape 82 | The Hidden Lute, Op. 132. Helen Pridmore, soprano; Jennie Oh, alto flute; Kathryn Rees, harp; Brian Bennett, percussion. April 30, 1996. Live recording from Kilbourn Hall, Eastman School of Music. Audiocassette tape. |
| tape 83 | The Hidden Lute, Op. 132; Epistle to the Corinthians, Op. 144. Undated. Audiocassette tape. N.B. Typescript label of tape contents on side of case struck through in pencil. |
| tape 84 | David Craighead, Marsh Chapel recital. Mendelssohn: Sonata No. 3 in A; Pierre Du Mage; Livre d’orgue; J. S. Bach: Chorale-Partita; Read: And there appeared unto them tongues as of fire, Op. 134; Persichetti: Chorale-Prelude; Vierne: Sixth Symphonie. March 22, 1985. Audiocassette tape. |
| tape 85 | Duplicate of tape 84. |
| tape 86 | And there appeared unto them tongues as of fire, Op. 134. David Craighead, organ. Undated. Cathedral of St. John, New York, NY. Audiocassette tape. |
| tape 87 | Raver Concert, Marsh Chapel. Includes (side 2): And there appeared unto them tongues as of fire, Op. 134; Sinfonia da Chiesa, Op. 61b. March 18, 1988. Audiocassette tape (1 of 2). |
| tape 88 | Raver Concert, Marsh Chapel. Suite for Organ, Op. 81. March 18, 1988. Audiocassette tape (2 of 2). |
| tape 89 | Invocation, Op. 135. Jayson Rod Engquist, organ; Golan Hermolin, trombone. April 10, 1995. Woolsey Hall, Yale School of Music. Audiocassette tape. |
| tape 90 | Diabolic Dialogue, Op. 137. Jonathan Haas. April 17, 1981 (premiere). Washington Square Church. Sonata da Chiesa, Op. 61a. [Betty Allan] Brings and [Genevieve] Chinn, pianos. Undated [July 21, 1989?]. Audiocassette tape. |
| tape 91 | By-Low, My Babe, Op. 138. Sanford Dole Ensemble. [June 25, 1994] (premiere). Audiocassette tape. |
| tape 92 | Sanford Dole Ensemble concert. Includes: A. Zhurbin: A Part of Speech; Read: By-Low, My Babe, Op. 138; R. Convery: Springsong of the Earth; S. Dole: Yes; S. Dole: Be Joyful in the Lord; D. Pinkham: In Heaven Soaring Up. Sanford Dole Ensemble. June 27, 1994. San Francisco, CA. Audiocassette tape. |
| tape 93 | Music for Chamber Winds, Op. 141. Undated. Audiocassette tape. |
| tape 94 | Music for Chamber Winds, Op. 141. Two performances: (1) Boston University Omnibus Players; Antoniou, conductor. 1982. (2) Mark Kelly, conductor. Bowling Green State University New Music Festival 1987. Audiocassette tape. |
| tape 95 | Epistle to the Corinthians, Op. 144. May 10, 1987 (premiere). Cornell University. Audiocassette tape. |
| tape 96 | The Music of Gardner Read (final edited tape for Albany Records CD). Epistle to the Corinthians, Op. 144; The Hidden Lute, Op. 132; By-Low, My Babe, Op. 138; Concerto for Piano and Orchestra, Op. 130. Audiocassette tape. |
| tape 97 | Duplicate of tape 96. |
| tape 98 | Nocturnal Visions, Op. 145. Jean Sloop, soprano; William Wingfield, piano. March 16, 1995. KSU. Audiocassette tape. |
| tape 99 | Nocturnal Visions, Op. 145. Undated. Audiocassette tape. Label on side of case: “Read: Nocturnal Visions (NATS); Robinson – Lerch, Los Angeles.” Label in case (possibly from tape 102?): “Singing Teachers 89, Art Song Winners Concert-Recital, Garner Read, David Francis Urrows, Tape 30.” |
| tape 100 | Jack Coldiron, lyric baritone, recital. Includes: Nocturnal Visions, Op. 145. October 4, 1988. Reynolds Memorial Chapel, Cowden Hall, Southwestern Baptist Theological Seminary. Audiocassette tape. |
| tape 101 | Ian Geller, baritone. Gustav Mahler: Lieder eines fahrenden Gesellen; Gardner Read: Nocturnal Visions, Op. 145. With Linda Hirt, piano. Audiocassette tape. |
| tape 102 | Duplicate of tape 101. |
| tape 103 | NATS Art Song Composition Contest Winner’s Recital. David Urrows: Five Songs from A New England Almanack; Ronald Perera: Sleep Now; Read: Nocturnal Visions, Op. 145; Read: I Hear an Army, Op. 48, no. 3; Mark Weiser: An Anthem for a Doomed Youth. Undated. Audiocassette tape. |
| tape 104 | Choristers’ 100th Anniversary. Hymn: Come, Thou Holy Spirit, Come; Read: Paean for St. Mark’s, Op. 146. June 7, 1987 (premiere). St. Mark’s, Evanston, IL. Audiocassette tape. |
| tape 105 | Phantasmagoria, Op. 147. Rehearsal. May 30, 19xx. Audiocassette tape. |
| tape 106 | Fantasy-Toccata, Op. 148. Barbara Harbach, harpsichord. November 3, 1991 (premiere). Trinity Lutheran Church, Pullman, WA. Audiocassette tape. |
| tape 107 | Fantasy-Toccata, Op. 148. Mark Kroll, harpsichord. November 2, 1994. ALEA III, American Performer/American Composer, Boston University. Audiocassette tape. Written on tape insert in ink: “Dub: By-Low, My Babe; Sanford Dole Ensemble.” |
| tape 108 | Five Aphorisms for Violin and Piano, Op. 150. Janet Packer, violin; Donald Berman, piano. February 26, 1993 (premiere). Olin Arts Center, Bates College. Audiocassette tape. |
Box 137
| tape 109 | Five Aphorisms for Violin and Piano, Op. 150. Janet Packer, violin; Howard Karp, piano. Undated. Recording session, Tape #1. Audiocassette tape (1 of 3). |
| tape 110 | Five Aphorisms for Violin and Piano, Op. 150. Janet Packer, violin; Howard Karp, piano. May 18, 1993. Recording session, Tape #2. Audiocassette tape (2 of 3). |
| tape 111 | Five Aphorisms for Violin and Piano, Op. 150. Janet Packer, violin. Edited tape for CD; January 13, 1994. Audiocassette tape (3 of 3). |
| tape 112 | Five Aphorisms for Violin and Piano, Op. 150; Sonata da Chiesa, Op. 61. Sonoric Fantasia No. 1, Op. 102; String Quartet No. 1, Op. 100. Undated. “NE CD copy of DAT master.” Audiocassette tape. |
| tape 113 | Five Aphorisms for Violin and Piano, Op. 150; The Hidden Lute, Op. 132. Undated. Audiocassette tape. |
| tape 114 | Five Aphorisms for Violin and Piano, Op. 150; Haiku Seasons, Op. 124. TBC [The Boston Conservatory] Chamber Players. February 15, 1998. First & Second Church. Audiocassette tape. |
| tape 115 | Duplicate of tape 114. |
| tape 116 | Chamber Music of Gardner Read. Five Aphorisms, Op. 150; Fantasy-Toccata, Op. 148; Sonata Brevis, Op. 81; The Hidden Lute, Op. 132; Nocturnal Visions, Op. 145 (see insert for performers). February 3, 1996. Kilbourn Hall, Eastman School of Music. Audiocassette tape. |
| tape 117 | Music for the Faces of Innovation, Op. 152 (video for the C. A. Dana Awards). Sample takes. Undated. Audiocassette tape. |
| tape 118 | Bare Ruin’d Choirs, Op. 153. Undated. Audiocassette tape. |
| tape 119 | Pennsylvaniana, Op. 67. Pittsburgh Symphony Orchestra; Lorin Maazel, conductor. April 13 and 14, 1996. Audiocassette tape. See tape 48 for PSO performance of April 12, 1996. |
| tape 120 | Read: Organ Music. Leonard Raver, organ. “Edited tape.” Audiocassette tape. |
| tape 121 | Pre-concert talk, Gardner Read and Klaus Roy (discussion of Sessions: Black Maskers, Bartok: Violin Concerto No. 2, Read: Symphony No. 4). April 10, 1980. Severance Hall, Cleveland, OH. Audiocassette tape. |
| tape 122 | Read: Interview with Bruce Duffy, WNIB Chicago. January 2, 1988. Audiocassette tape. |
| tape 123 | Interview with Robin Rilette, KRFA (NPR), Pullman, WA. November 1, 1991. Audiocassette tape. |
| tape 124 | Gardner Read interview (M. A. Dodd). July 29, 1992. Manchester, MA. Audiocassette tape. |
| tape 125 | Gardner Read and D’Anna Fortunato interview and music, WBUR. January 10, 1999. Audiocassette tape. |
| tape 126 | Mather Pfeiffenberger interview with Gardner Read on Symphony No. 1, 1937 American Composers Contest, Aaron Copland. May 27, 2000. |
Box 137
| tape 127 | Piano Sonata; Sonoric Fantasia. Digital audio tape. N.B. No indication of key/opus nos. |
| tape 128 | Five Aphorisms for Violin and Piano, Op. 150. Janet Packer, violin; Gardner Read, piano. Original master, Session tape, takes 1–72. May 18, 1993. Digital audio tape (1 of 3). |
| tape 129 | Five Aphorisms for Violin and Piano, Op. 150. Janet Packer, violin; Gardner Read, piano. Original master, Session tape, takes 73–122. May 18, 1993. Digital audio tape (2 of 3). Tape also includes Malcolm Arnold: Scottish Dance. |
| tape 130 | Five Aphorisms for Violin and Piano, Op. 150. [Janet Packer, violin; Gardner Read, piano.] Edit master. Digital audio tape (3 of 3). |
| tape 131 | “Read Quartet, Edit Master; Production master.” March 1, 1994. Digital audio tape. N.B. No indication of opus no. |
| tape 132 | Alternate copy of tape 131. |
| tape 133 | “Read Quartet, take 22, ID26, 192–end mvt.” April 26, 1994. Digital audio tape. N.B. No indication of opus no. |
Box 20
| CD 1 | Suite for String Orchestra, Op. 33a. Longy Orchestra; R. Feldman, conductor. Compact disc. |
| CD 2 | Piano Quintet, Op. 47. Lydian String Quartet; John McDonald, piano. Compact disc. |
| CD 3 | De Profundis, [Op. 71]. John Aubrey, horn; Andrew Pane Holman, organ. Harvard-Epworth [United Methodist Church], Cambridge, [MA], 30 Sept 2001. Compact disc. |
| CD 4 | “Gardner Read: Solo Piano Choices.” Summer 2002. Compact disc. Written on disc: “Gardner Read: Piano Takes; New World CD.” No tracklist given. |
| *** | Unidentified solo organ composition by Gardner Read. See CD 6; separated to Series 4: Library, sub-series E: Recordings. |
Box 138
| VHS 1 | Charles A. Dana Foundation, 3rd Annual Awards. Title and closing music by Gardner Read (Toccata Giocosa, Op. 94). November 2, 1988. VHS videocassette tape. |
| VHS 2 | USIA documentary video (1963). Background music mainly from Read: String Quartet No. 1, Op. 100, performed by the Eastman String Quartet. VHS videocassette tape. |
| VHS 3 | Part 1 of USIA documentary video (VHS 1). |
| VHS 4 | Parts 2–3 of USIA documentary video (VHS 1). |
| VHS 5 | String Quartet No. 1, Op. 100. BCSQ [Boston Composers String Quartet]. April 1993. VHS videocassette tape. |
| VHS 6 | Five Aphorisms for Violin and Piano, Op. 150. Dawn Perlner, violin; Victoria Gomez, piano. May 11, 2000. Lincoln Labs. VHS videocassette tape. |
| VHS 7 | Faces of Innovation: Charles A. Dana Foundation, 10th Anniversary Awards. Music by Gardner Read, Op. 152. November 8, 1995. VHS videocassette tape. |
Box 24
| folder 1 | Twentieth Century Notation: preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (Incomplete staves II) to (Insert ex.3). |
| folder 2 | Twentieth Century Notation: preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (#5) to (Pedal Symbols). |
| folder 3 | Twentieth Century Notation: preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (WW) to (muted effects). |
| folder 4 | Twentieth Century Notation: preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (Globokar – Accord) to (note ref.). |
| folder 5 | Twentieth Century Notation: preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (Repetitions) to (Ad lib.). |
| folder 6 | Twentieth Century Notation: first drafts, typed, examples. Typescript and repro of typescript MS; annotated in pencil. Pages run from title page to 8.4. |
Box 25
| folder 1 | Twentieth Century Notation: first drafts, typed, examples. Repro of typescript MS. Pages numbered II-9-(2) to III-13-(6). |
| folder 2 | Twentieth Century Notation: first drafts, typed, examples. Repro of typescript MS. Pages numbered III-13-(6) to V-25-(2). Accompanied by excerpts from musical examples. 20 pages of music. |
| folder 3 | Twentieth Century Notation: first drafts, typed, examples. Excerpts of musical examples. |
| folder 4 | Twentieth Century Notation: first drafts, typed, examples. Introductory matter and Part One. Combination of MS in pencil and typescript featuring corrections in pencil. Pages run from cover page to page 15. |
| folder 5 | Twentieth Century Notation: first drafts, typed, examples. Part II, chapters 1 – 5. Typescript; annotated in pencil. Pages numbered 1 – 3. |
| folder 6 | Twentieth Century Notation: first drafts, typed, examples. Part II, chapters 6 – 10. Typescript; annotated in pencil. Pages numbered 1 – 3. |
| folder 7 | Twentieth Century Notation: first draft typed copy. Part III, chapters 11- 12. Typescript; annotated in pencil. Pages numbered 1 – 5. |
Box 26
| folder 1 | Twentieth Century Notation: first draft typed copy. Part III, chapters 13 – 17. Typescript; annotated in pencil. Pages numbered 1 – 3. |
| folder 2 | Twentieth Century Notation: first draft typed copy. Part III, chapters 18 – 20. Typescript; annotated in pencil. Pages numbered 1 – 5. |
| folder 3 | Twentieth Century Notation: first draft typed copy. Parts IV, V, concluding matter. Typescript; annotated in pencil. Pages numbered 1 – 2. |
| folder 4 | Twentieth Century Notation: incomplete revised draft. Pages i – xix (front matter). MS in pencil and typescript featuring corrections in pencil. |
| folder 5 | Twentieth Century Notation: incomplete revised draft. Pages 18 – 32 (part 1). Repro of typescript; annotated in pencil. |
| folder 6 | Twentieth Century Notation: incomplete revised draft. Pages 33 – 113 (part II, chapter 1). Repro of typescript; annotated in pencil. |
| folder 7 | Twentieth Century Notation: incomplete revised draft. Part II, chapter 2. Pages numbered 99 – 139. Repro of typescript; annotated in pencil. |
| folder 8 | Twentieth Century Notation: incomplete revised draft. Part II, chapter 3. Pages numbered 142 – 181. Repro of typescript; annotated in pencil and colored pencil. |
| folder 9 | Twentieth Century Notation: incomplete revised draft. Part II, chapter 4. Pages numbered 182 – 267. Repro of typescript; annotated in pencil and colored pencil. |
| folder 10 | Twentieth Century Notation: incomplete revised draft. Part II, chapter 5. Pages numbered 269 – 285. Repro of typescript; annotated in pencil. |
| folder 11 | Twentieth Century Notation: incomplete revised draft. Part II, chapter 6. Pages numbered 287 – 312. Repro of typescript; annotated in pencil and colored pencil. |
| folder 12 | Twentieth Century Notation: incomplete revised draft. Part II, chapter 7. Pages numbered II-6-(1) to II-7-(2). Repro of typescript; annotated in pencil. |
| folder 13 | Twentieth Century Notation: incomplete revised draft. Part II, chapter 8. Pages numbered 376 – 402. Repro of typescript; annotated in pencil. |
| folder 14 | Twentieth Century Notation: incomplete revised draft. Part II, chapter 9. Pages numbered 399 – 480. Repro of typescript; annotated in pencil and colored pencil. |
| folder 15 | Twentieth Century Notation: incomplete revised draft. Part II, chapter 10. Pages numbered 483 – 492. Repro of typescript; annotated in pencil and colored pencil. |
| folder 16 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 11. Pages numbered 490 – {III-11-(4)}. Repro of typescript; annotated in pencil and colored pencil. |
| folder 17 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 12. Pages numbered 597 – 662. Repro of typescript; annotated in pencil and colored pencil. |
| folder 18 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 13. Pages numbered 708 – {III-13-(5)}. Repro of typescript; annotated in pencil and colored pencil. |
| folder 19 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 14. Pages numbered 784 – {III-14-(4)}. Repro of typescript; annotated in pencil and colored pencil. |
Box 27
| folder 1 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 15. Pages numbered 839 – 905. Repro of typescript; annotated in ink, pencil and colored pencil. |
| folder 2 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 16. Pages numbered 906 – 1037. Repro of typescript; annotated in ink, pencil and colored pencil. |
| folder 3 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 17. Pages numbered 1038 – 1418. Repro of typescript; annotated in ink, pencil and colored pencil. |
| folder 4 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 18. Pages numbered 1419 – 1523. Repro of typescript; annotated in ink, pencil and colored pencil. |
| folder 5 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 19. Pages numbered 1524 – 1674. Repro of typescript; annotated in ink, pencil and colored pencil. |
| folder 6 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 20. Pages numbered 1675 – 1711. Repro of typescript; annotated in ink, pencil and colored pencil. |
| folder 7 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 21. Pages numbered 1712– 1775. Repro of typescript; annotated in ink, pencil and colored pencil. |
| folder 8 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 22. Pages numbered 1776 – 1857. Repro of typescript; annotated in ink, pencil and colored pencil. |
| folder 9 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 23. Pages numbered 1859 – 1951. Repro of typescript; annotated in ink, pencil and colored pencil. |
| folder 10 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 24. Pages numbered 1952 – {V-24- (1)}. Repro of typescript; annotated in ink, pencil and colored pencil. |
| folder 11 | Twentieth Century Notation: incomplete revised draft. Part III, chapter 25, bibliography. Pages numbered 1972 – 2002. Repro of typescript; annotated in ink and pencil. |
Box 28
| folder 1 | Twentieth Century Notation: revised examples (1-1-1) to (9-5-4). MS in typescript, pencil and ink. |
| folder 2 | Twentieth Century Notation: miscellaneous drafts, notes and examples. Pages numbered {Vol. 1 (1-492)} to (Section 3). Combination of MS in pencil and repro of typescript; annotated in ink, pencil and colored pencil. |
| folder 3 | Twentieth Century Notation: miscellaneous drafts, notes and examples. Pages numbered (Ex. 10.1–1) to (Ex. 13.6-2). MS in typescript. |
| folder 4 | Twentieth Century Notation: original typescript, front matter and Part 1. Pages numbered Box 1 to 15. Combination of MS in pencil and typescript; annotated in ink, pencil and colored pencil. |
| folder 5 | Twentieth Century Notation: original typescript, Part II, chapter 1. Pages numbered 16 to 98. Typescript; annotated in ink, pencil and colored pencil. |
| folder 6 | Twentieth Century Notation: original typescript, Part II, chapter 2. Pages numbered 99 to 141. Typescript; annotated in ink, pencil and colored pencil. |
| folder 7 | Twentieth Century Notation: original typescript, Part II, chapter 3. Pages numbered 142 to 181. Typescript; annotated in ink, pencil and colored pencil. |
| folder 8 | Twentieth Century Notation: original typescript, Part II, chapter 4. Pages numbered 182 to 268. Typescript; annotated in ink, pencil and colored pencil. |
Box 29
| folder 1 | Twentieth Century Notation: original typescript, Part II, chapter 5. Pages numbered 269 to 286. Typescript; annotated in ink, pencil and colored pencil. |
| folder 2 | Twentieth Century Notation: original typescript, Part II, chapter 6. Pages numbered 287 to 332. Typescript; annotated in ink, pencil and colored pencil. |
| folder 3 | Twentieth Century Notation: original typescript, Part II, chapter 7. Pages numbered 333 to 375. Typescript; annotated in ink, pencil and colored pencil. |
| folder 4 | Twentieth Century Notation: original typescript, Part II, chapter 8. Pages numbered 376 to 398. Typescript; annotated in ink, pencil and colored pencil. |
| folder 5 | Twentieth Century Notation: original typescript, Part II, chapter 9. Pages numbered 399 to 481. Typescript; annotated in ink, pencil and colored pencil. |
| folder 6 | Twentieth Century Notation: original typescript, Part II, chapter 10. Pages numbered 482 to 489. Typescript; annotated in ink, pencil and colored pencil. |
| folder 7 | Twentieth Century Notation: original typescript, Part III, chapter 11. Pages numbered 490 to 595. Typescript; annotated in ink, pencil and colored pencil. |
Box 30
| folder 1 | Twentieth Century Notation: original typescript, Part III, chapter 12. Pages numbered 597 to 706. Typescript; annotated in ink, pencil and colored pencil. |
| folder 2 | Twentieth Century Notation: original typescript, Part III, chapter 13. Pages numbered 708 to 783. Typescript; annotated in ink, pencil and colored pencil. |
| folder 3 | Twentieth Century Notation: original typescript, Part III, chapter 14. Pages numbered 784 to 838. Typescript; annotated in ink, pencil and colored pencil. |
| folder 4 | Twentieth Century Notation: original typescript, Part III, chapter 15. Pages numbered 839 to 905. Typescript; annotated in ink, pencil and colored pencil. |
| folder 5 | Twentieth Century Notation: original typescript, Part III, chapter 16. Pages numbered 906 to 1037. Typescript; annotated in ink, pencil and colored pencil. |
| folder 6 | Twentieth Century Notation: original typescript, Part III, chapter 17. Pages numbered 1038 to 1199. Typescript; annotated in ink, pencil and colored pencil. |
| folder 7 | Twentieth Century Notation: original typescript, Part III, chapter 17 continued. Pages numbered 1200 to 1330. Typescript; annotated in ink, pencil and colored pencil. |
Box 31
| folder 1 | Twentieth Century Notation: original typescript, Part III, chapter 17 continued. Pages numbered 1331 to 1418. Typescript; annotated in ink, pencil and colored pencil. |
| folder 2 | Twentieth Century Notation: original typescript, Part III, chapter 18. Pages numbered 1419 to 1523. Typescript; annotated in ink, pencil and colored pencil. |
| folder 3 | Twentieth Century Notation: original typescript, Part III, chapter 19. Pages numbered 1524 to 1674. Typescript; annotated in ink, pencil and colored pencil. |
| folder 4 | Twentieth Century Notation: original typescript, Part III, chapter 20. Pages numbered 1575 to 1710. Typescript; annotated in ink, pencil and colored pencil. |
| folder 5 | Twentieth Century Notation: original typescript, Part IV, chapter 21. Pages numbered 1711 to 1775. Typescript; annotated in ink, pencil and colored pencil. |
| folder 6 | Twentieth Century Notation: original typescript, Part IV, chapter 22. Pages numbered 1776 to 1857. Typescript; annotated in ink, pencil and colored pencil. |
| folder 7 | Twentieth Century Notation: original typescript, Part IV, chapter 23. Pages numbered 1859 to 1951. Typescript; annotated in ink, pencil and colored pencil. |
| folder 8 | Twentieth Century Notation: original typescript, Part V, chapter 24. Pages numbered 1952 to 1971. Typescript; annotated in ink, pencil and colored pencil. |
| folder 9 | Twentieth Century Notation: original typescript, Part V, chapter 25. Pages numbered 1972 to 1999. Typescript; annotated in ink, pencil and colored pencil. |
| folder 10 | Twentieth Century Notation: original typescript, concluding matter. Typescript; annotated in ink. 3 pages. Ink MS; annotated in pencil and colored pencil. 1 page. |
Box 32
| item 1 | Twentieth Century Notation: microfilm of unrevised manuscript. Roll 1 – D. |
| item 2 | Twentieth Century Notation: microfilm of unrevised manuscript. Roll 2. |
Box 32
| folder 1 | Contemporary Instrumental Techniques: permissions file. Pages run from “Permission Fees” to “PWN Edition”. |
| folder 2 | Contemporary Instrumental Techniques: Shirmer Books contract. Signed in ink by Gardner Read, August 5, 1974. Also signed by Robert A. Barton, president of the Macmillan Publishing Co., Inc. |
| folder 3 | Contemporary Instrumental Techniques: addenda (various instruments). Documents pertaining to innovations in the playing techniques of various instruments. |
| folder 4 | Contemporary Instrumental Techniques: addenda (Heiss articles). 8 pages. |
| folder 5 | Contemporary Instrumental Techniques: notes. MS in pencil and colored pencil. 26 pages. |
| folder 6 | Contemporary Instrumental Techniques: notes, chapter 1. MS in pencil and colored pencil. 5 pages. |
| folder 7 | Contemporary Instrumental Techniques: notes, chapter 2. MS in pencil and colored pencil. 7 pages. |
| folder 8 | Contemporary Instrumental Techniques: notes, chapter 3. MS in pencil and colored pencil. 4 pages. |
| folder 9 | Contemporary Instrumental Techniques: notes, chapter 4. MS in pencil and colored pencil. 3 pages. |
| folder 10 | Contemporary Instrumental Techniques: notes, chapter 5. MS in pencil and colored pencil. 4 pages. |
| folder 11 | Contemporary Instrumental Techniques: notes, chapter 6. MS in pencil and colored pencil. 3 pages. |
| folder 12 | Contemporary Instrumental Techniques: notes, chapter 7. MS in pencil and colored pencil. 7 pages. |
| folder 13 | Contemporary Instrumental Techniques: notes, chapter 8. MS in pencil and colored pencil. 4 pages. |
| folder 14 | Contemporary Instrumental Techniques: notes, chapter 9. MS in pencil and colored pencil. 16 pages. |
| folder 15 | Contemporary Instrumental Techniques: notes, chapter 10. MS in pencil and colored pencil. 8 pages. |
| folder 16 | Contemporary Instrumental Techniques: notes, chapter 11. MS in pencil and colored pencil. 9 pages. |
| folder 17 | Contemporary Instrumental Techniques: notes, chapter 12. MS in pencil and colored pencil. 13 pages. |
| folder 18 | Contemporary Instrumental Techniques: notes, chapter 13. MS in pencil and colored pencil. 11 pages. |
| folder 19 | Contemporary Instrumental Techniques: notes, hybrid instruments. MS in pencil. 4 pages. Accompanied by a press clipping from Time Magazine. April 30, 1965. |
| folder 20 | Contemporary Instrumental Techniques: notes, bibliography. MS in pencil. 5 pages. |
| folder 21 | Contemporary Instrumental Techniques: notes, examples and list of publishers. MS in pencil and colored pencil. 7 pages. |
| folder 22 | Contemporary Instrumental Techniques: edited draft, front matter. Pages numbered 1 to 11. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil. |
| folder 23 | Contemporary Instrumental Techniques: edited draft, Part I, chapter 1. Pages numbered 12 to 28. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil. |
| folder 24 | Contemporary Instrumental Techniques: edited draft, Part I, chapter 2. Pages numbered 29 to 50. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil. |
| folder 25 | Contemporary Instrumental Techniques: edited draft, Part I, chapter 3. Pages numbered 51 to 76. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil. |
| folder 26 | Contemporary Instrumental Techniques: edited draft, Part I, chapter 4. Pages numbered 77 to 85. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil. |
| folder 27 | Contemporary Instrumental Techniques: edited draft, Part I, chapter 5. Pages numbered 86 to 137. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil. |
Box 33
| folder 1 | Contemporary Instrumental Techniques: edited draft, Part I, chapter 6. Pages numbered 138 to 151. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil. |
| folder 2 | Contemporary Instrumental Techniques: edited draft, Part I, chapter 7. Pages numbered 152 to 161. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil. |
| folder 3 | Contemporary Instrumental Techniques: edited draft, Part I, chapter 8. Pages numbered 162 to 176. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil. |
| folder 4 | Contemporary Instrumental Techniques: edited draft, Part II, chapter 9. Pages numbered 177 to 209. Combination of repro of publisher’s proof copy and typescript; annotated in ink, pencil and colored pencil. |
| folder 5 | Contemporary Instrumental Techniques: edited draft, Part II, chapter 10. Pages numbered 210 to 236. Combination of repro of publisher’s proof copy and typescript; annotated in ink, pencil and colored pencil. |
| folder 6 | Contemporary Instrumental Techniques: edited draft, Part II, chapter 11. Pages numbered 237 to 248. Combination of repro of publisher’s proof copy and typescript; annotated in ink, pencil and colored pencil. |
| folder 7 | Contemporary Instrumental Techniques: edited draft, Part II, chapter 12. Pages numbered 249 to 267. Combination of repro of publisher’s proof copy and typescript; annotated in ink, pencil and colored pencil. |
| folder 8 | Contemporary Instrumental Techniques: edited draft, Part II, chapter 13. Pages numbered 268 to 296. Combination of repro of publisher’s proof copy and typescript; annotated in ink, pencil and colored pencil. |
| folder 9 | Contemporary Instrumental Techniques: edited draft, Part II, concluding material. Pages numbered 297 to 340. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil. |
| folder 10 | Contemporary Instrumental Techniques. Letters, opinions, etc. Includes correspondence with potential publishers as well as reviews and comments from invited readers, reviewers, and others. N.B. Materials originally housed in labeled 3-prong folder. |
Box 33
| folder 11 | Twentieth Century Microtonal Notation: addenda. Pages run from (Addenda, pg 25-29) to (Bibliography addenda). Combination of MS in pencil and typescript. |
| folder 12 | Twentieth Century Microtonal Notation: drafts. Pages run from title page to (chapter 3 – 15). Typescript; annotated in pencil. |
| folder 13 | Twentieth Century Microtonal Notation: drafts. Pages run from (Chapter 4-1) to (Chapter 5-2). Typescript; annotated in pencil and colored pencil. |
Box 34
| folder 1 | Twentieth Century Microtonal Notation: drafts. Pages run from (Chapter 5-3) to (1st chapter 5). Combination of MS in pencil and typescript; annotated in pencil. |
| folder 2 | Twentieth Century Microtonal Notation: drafts. Pages run from (1st – chapter 5) to (13 –Chapter 3 exs.). MS in pencil; annotated in colored pencil. |
| folder 3 | Twentieth Century Microtonal Notation: drafts. Pages run from (Chapter 4) to 47. MS in pencil; annotated in colored pencil. |
| folder 4 | Twentieth Century Microtonal Notation: draft examples. Pages numbered 4 to 2. MS in pencil; annotated in colored pencil and typescript. |
| folder 5 | Twentieth Century Microtonal Notation: first proofs. Pages numbered v to 201. Publisher’s proof copy; annotated in colored pencil. |
| folder 6 | Twentieth Century Microtonal Notation: second proofs. Pages numbered v to 201. Publisher’s proof copy; annotated in colored pencil. |
| folder 7 | Twentieth Century Microtonal Notation: unedited typescript. Pages numbered 1 to 210. Repro of annotated typescript. Accompanied by a letter inscribed by Gardner Read to Ms. Matera (first name omitted), November 29, 1989. |
| folder 8 | Twentieth Century Microtonal Notation: addenda, corrections, clarifications (goes with unedited typescript). Pages run from (Ch.1 = 3rd) to (p. 156 – line 6). Publisher’s proof copy; annotated in colored pencil. |
Box 35
| folder 1 | Twentieth Century Microtonal Notation: pre-publication edited draft. Pages numbered 1 to 105. Typescript; annotated in pencil and colored pencil. |
| folder 2 | Twentieth Century Microtonal Notation: pre-publication edited draft. Pages numbered 106 to 210. Typescript; annotated in pencil and colored pencil. |
| folder 3 | Twentieth Century Microtonal Notation: printer’s copy. Pages numbered i to 199. Publisher’s proof copy; annotated in ink and colored pencil. |
| folder 4 | Twentieth Century Microtonal Notation. Letters. [Folder 1 of 2.] Includes correspondence with the publisher (Greenwood Press), permissions letters, and related documents. N.B. Materials originally housed in labeled 3-prong folder. |
| folder 5 | Twentieth Century Microtonal Notation. Letters. [Folder 2 of 2.] Includes agreement with publisher (Greenwood Press), letters from various composers on their approach to microtonal notation, correspondence from readers. N.B. Materials originally housed in labeled 3-prong folder. |
Box 35
| folder 6 | Genesis of an Opera: first draft. Pages run from Table of Contents to 12. Typescript; annotated in pencil. |
| folder 7 | Genesis of an Opera: discarded original version. Pages run from Title page to 203. Repro of typescript. Cover sheet: MS in pencil. |
Box 36
| folder 1 | Genesis of an Opera. Correspondence and evaluations. Includes correspondence with potential publishers and James [Forsyth] as well as related documents. N.B. Materials originally housed in labeled 3-prong folder. |
| folder 2 | Genesis of an Opera. Draft, incomplete (1 of 2). Pages run from Title page to 143. Typescript with annotations in colored pencil. |
| folder 3 | Genesis of an Opera. Draft, incomplete (2 of 2). Pages run from 144 to 281. Typescript with annotations in colored pencil. |
| folder 4 | Genesis of an Opera. Chapter 8, beginning of 9. Draft. Pages run from 155 to 165. Typescript. |
| folder 5 | Genesis of an Opera. From chapter 9. Draft. Pages run from 183 to 203. Typescript. |
| folder 6 | Genesis of an Opera. From chapters 10 and 11. Draft. Pages run from 182 to 219. Typescript. |
| folder 7 | Genesis of an Opera. Chapter 10. Draft. Pages run from 181 to 203. Typescript. |
| folder 8 | Genesis of an Opera. From Chapter 10. Draft. Pages run from 188 to 190. Typescript. |
| folder 9 | Genesis of an Opera. Musical figures 3 to 14c. MS in typescript, pen and ink. |
| folder 1 | Genesis of an Opera. Extra copies of Chapters 8-11. Pages run from 155 to 203. Typescript. |
| folder 11 | Genesis of an Opera. Extra copies of Chapters 10-11. Pages run from 181 to 219. Typescript. |
Box 36
| folder 12 | Pictographic Score Notation: camera-ready copy (1997). Pages numbered xi to 150. Annotated in colored pencil. |
| folder 13 | Pictographic Score Notation: camera-ready copy (1997). Pages numbered 151 to 282. Annotated in pencil. |
| folder 14 | Pictographic Score Notation: original manuscript copy (edited), Part I. Pages numbered 1 to 61. Typescript; annotated in pencil and colored pencil. |
| folder 15 | Pictographic Score Notation: original manuscript copy (edited), Part II A. Pages numbered 62 to 156. Typescript; annotated in pencil and colored pencil. |
| folder 16 | Pictographic Score Notation: original manuscript copy (edited), Part II B. Pages numbered 157 to 177. Typescript; annotated in ink, pencil and colored pencil. |
Box 37
| folder 1 | Pictographic Score Notation: original manuscript copy (edited), Part II C – D. Pages numbered 178 to 261. Typescript; annotated in ink, pencil and colored pencil. |
| folder 2 | Pictographic Score Notation: original manuscript copy (edited), Part II E – F. Pages numbered 262 to 339. Typescript; annotated in ink, pencil and colored pencil. |
| folder 3 | Pictographic Score Notation: original manuscript copy (edited), Part II G. Pages numbered 340 to 388. Typescript; annotated in ink, pencil and colored pencil. |
| folder 4 | Pictographic Score Notation: original manuscript copy (edited), Part III. Pages numbered 389 to 427. Typescript; annotated in ink, pencil and colored pencil. |
| folder 5 | Pictographic Score Notation: first draft, pencil notes, etc. Pages run from cover sheet to (Percussion Section – Exotica). Combination of MS in pencil and colored pencil, and typescript; annotated in pencil. |
| folder 6 | Pictographic Score Notation: notes, examples, preliminary drafts, etc. Pages numbered II to 1002. Combination of MS in pencil and colored pencil, and repro of typescript; annotated in colored pencil. |
| folder 7 | Pictographic Score Notation: first copy. Pages numbered 1 to 98. Typescript; annotated in pencil and colored pencil. |
| folder 8 | Pictographic Score Notation: first copy. Pages numbered 99 to 199. Typescript; annotated in pencil and colored pencil. |
| folder 9 | Pictographic Score Notation: first copy. Pages numbered 200 to 299. Typescript; annotated in pencil and colored pencil. |
Box 38
| folder 1 | Pictographic Score Notation: first copy. Pages numbered 300 to 385. Typescript; annotated in pencil and colored pencil. |
| folder 2 | Pictographic Score Notation: first copy. Pages numbered 88 to 429. Typescript; annotated in pencil and colored pencil. |
| folder 3 | Pictographic Score Notation. Third Copy. Pages numbered 1 to 51. Typescript with pencil annotations. |
| folder 4 | Pictographic Score Notation. Third Copy. Pages numbered 52 to 177. Typescript with pencil annotations. |
| folder 5 | Pictographic Score Notation. Third Copy. Pages numbered 178 to 339. Typescript with pencil annotations. |
| folder 6 | Pictographic Score Notation. Third Copy. Pages numbered 340 to 430. Typescript with pencil annotations. |
| folder 7 | Pictographic Score Notation. Letters. Includes correspondence with publisher(s) and readers, and related documents. N.B. Materials originally housed in labeled 3-prong folder. |
Box 38
| folder 8 | Modern Rhythmic Notation: addenda. MS in pencil. 26 pages. Accompanied by 5 press clippings. Also accompanied by a MS repro of an unidentified score. 1 page of music. |
| folder 9 | Modern Rhythmic Notation. Letters. Includes correspondence with publisher(s) and readers, and related documents. N.B. Materials originally housed in labeled 3-prong folder. |
Box 39
| case 1 | Modern Rhythmic Notation: xerographic copy with editing by the author. Pages run from cover sheet to (Credit Lines cont.). Combination of typescript and repro of typescript; corrections in ink, pencil and colored pencil. |
Box 86
| folder 1 | Modern Rhythmic Notation: corrections to first edition. Pages run from title page through 193. Publisher’s proof copy; corrections in colored pencil. |
Box 39
| case 2 | Psychology of Polymeters: first draft. Typescript; annotated in pencil. 37 pages. |
| folder 1 | Psychology of Polymeters:complete draft. MS in typescript. 25 pages. Musical examples in ink, 33 pages. N.B. Materials originally housed in black spring binder |
Box 39
| folder 2 | Thesaurus of Orchestral Devices: contract, correspondence (Greenwood Press / Pitman). 10 letters of correspondence pertaining to the publication of Gardner Read’s Thesaurus of Orchestral Devices.* |
Box 40
| folder 1 | Thesaurus of Orchestral Devices (supplement): preliminary notes. Pages run from cover sheet to (Hindemith – Sinf. – cont.). MS in pencil and colored pencil. |
| folder 2 | Thesaurus of Orchestral Devices (supplement): materials, chapters 4 – 50. Pages numbered (chap. 4 S.) to (Chap. 50 S.). Typescript; annotated in pencil and colored pencil. |
| folder 3 | Thesaurus of Orchestral Devices (supplement): materials, chapters 51 – 70. Pages numbered (Chap. 51 S.) to 2. Typescript; annotated in pencil. |
| folder 4 | Thesaurus of Orchestral Devices: unmarked proofs. Pages run from cover sheet through 202. Publisher’s proof copy, bound in signatures. |
| folder 5 | Thesaurus of Orchestral Devices: unmarked proofs. Pages run from 203 through 426. Publisher’s proof copy, bound in signatures. |
| folder 6 | Thesaurus of Orchestral Devices: unmarked proofs. Pages run from 427 through 631. Publisher’s proof copy, bound in signatures. |
Box 41
| folder 1 | Thesaurus of Orchestral Devices: corrected proofs. Pages run from cover sheet through 202. Publisher’s proof copy, bound in signatures; corrections in pencil and colored pencil. |
| folder 2 | Thesaurus of Orchestral Devices: corrected proofs. Pages run from 203 through 426. Publisher’s proof copy, bound in signatures; corrections in pencil and colored pencil. |
| folder 3 | Thesaurus of Orchestral Devices: corrected proofs. Pages run from 427 through 631. Publisher’s proof copy, bound in signatures; corrections in pencil and colored pencil. |
| folder 4 | Thesaurus of Orchestral Devices: Letters. Includes correspondence with publisher(s) and readers, and related documents. N.B. Materials originally housed in labeled 3-prong folder. |
Box 41
| folder 5 | Orchestral Combinations (withdrawn version): typescript and examples, introductory matter. Pages numbered 1 to 8. Combination of MS in pencil and typescript. |
| folder 6 | Orchestral Combinations (withdrawn version): typescript and examples, Part I. Pages run from cover page through (21.2). Combination of MS in pencil and typescript; annotated in ink. |
| folder 7 | Orchestral Combinations (withdrawn version): typescript and examples, Part II. 1. Pages run from cover page through (7.12). Combination of MS in pencil and typescript; annotated in ink and pencil. |
| folder 8 | Orchestral Combinations (withdrawn version): typescript and examples, Part II. 2. Pages numbered 1 to 11. Typescript; annotated in ink, pencil and colored pencil. |
Box 42
| folder 1 | Orchestral Combinations (withdrawn version): typescript and examples, Part II. 2. Pages numbered 1 to 17. Typescript; annotated in ink, pencil and colored pencil. |
| folder 2 | Orchestral Combinations: pencil notes, first drafts of text. Pages run from 1 to (WW – 8). MS in pencil and colored pencil. |
| folder 3 | Orchestral Combinations: pencil notes, first drafts of text. Pages run from (WW – 8) through bibliography. MS in pencil and colored pencil. |
| folder 4 | Orchestral Combinations: typescript draft, front matter and Part I. Pages numbered 1 to 141. Repro of typescript; annotated in ink, pencil and colored pencil. |
| folder 1 | Orchestral Combinations: typescript draft, Part II and concluding matter. Pages numbered 142 to 276. Repro of typescript; annotated in ink. |
| folder 2 | Orchestral Combinations: revised typescript copy, 2000 discarded version, front matter and Part I. Pages numbered 1 to 101. Repro of typescript; annotated in ink. |
| folder 3 | Orchestral Combinations: revised typescript copy, 2000 discarded version, Part II and end matter. Pages numbered 102 to 2. Repro of typescript. |
Box 43
| folder 1 | Orchestral Combinations: third revised version, intro and Part I. Pages numbered 3 to 101. Typescript; annotated in ink. |
| folder 2 | Orchestral Combinations: third revised version, Part II and concluding matter. Pages numbered 102 to 198. Typescript; annotated in ink. |
| folder 3 | Orchestral Combinations: The Science and Art of Instrumental Tone-Color. , Proof copy (copy 1); intro and Part I. Pages numbered i–110. Scarecrow Press proof copy; corrections in ink and colored pencil. |
| folder 4 | Orchestral Combinations: The Science and Art of Instrumental Tone-Color. , Proof copy (copy 1); Part II. Pages numbered 111–267. Scarecrow Press proof copy; corrections in ink and colored pencil. |
| folder 5 | Orchestral Combinations: The Science and Art of Instrumental Tone-Color. , Proof copy (copy 2); intro and Part I. Pages numbered i–110. Scarecrow Press proof copy; corrections in ink and colored pencil. |
| folder 6 | Orchestral Combinations: The Science and Art of Instrumental Tone-Color. , Proof copy (copy 2); Part II. Pages numbered 111–276. Scarecrow Press proof copy; corrections in ink and colored pencil. |
Box 44
| folder 1 | Orchestral Combinations: The Science and Art of Instrumental Tone-Color. Original MS copy; intro and Part I. Pages numbered 1–141. Typescript; annotated in pencil, colored pencil and ink. |
| folder 2 | Orchestral Combinations: The Science and Art of Instrumental Tone-Color. Original MS copy; Part II. Pages numbered 142–297. Typescript; annotated in pencil, colored pencil and ink. |
| folder 3 | Orchestral Combinations: Revised typescript with new formatting. Pages numbered 1 – 141. Repro of typescript MS; corrections in ink and colored pencil. |
| folder 4 | Orchestral Combinations: Revised typescript with new formatting. Pages numbered 142 – 300. Repro of typescript MS; corrections in ink and colored pencil. |
| folder 5 | Orchestral Combinations. Proof copy: index. Pages numbered 256 – 272. Scarecrow Press proof copy; corrections in ink and colored pencil. Interleaved in proof copy: repro of typescript pages and pencil MS notes. |
| folder 6 | Orchestral Combinations: Index of techniques. 87 index cards; annotated in pencil. The information on the index cards pertains to the musical examples in the manuscript for the book, Orchestral Combinations. |
| folder 7 | Orchestral Combination. Letters. Includes correspondence with publisher(s) and readers, and related documents. N.B. Materials originally housed in labeled 3-prong folder |
Box 45
| folder 1 | Source Book of Proposed Music Notation Reforms: notes. Pages run from (Duplicated staves – noteheads) through (City in which…). MS in pencil. |
| folder 2 | Source Book of Proposed Music Notation Reforms: drafts, front matter. Typescript; annotated in ink and pencil. 7 pages. MS in pencil. 1 page. |
| folder 3 | Source Book of Proposed Music Notation Reforms: drafts 1 – 4, chapter 1. Pages numbered 1 to 10. Typescript; annotated in red ink and pencil. |
| folder 4 | Source Book of Proposed Music Notation Reforms: drafts 1-4, chapter 2. Pages numbered 2 to 4. Combination of MS in pencil and typescript; annotated in pencil. |
| folder 5 | Source Book of Proposed Music Notation Reforms: drafts 1 – 4, chapter 3. Combination of pencil MS and typescript; annotated in pencil. 9 pages. |
| folder 6 | Source Book of Proposed Music Notation Reforms: drafts 1 – 4, chapter 4 – 1. Combination of pencil MS and typescript; annotated in red ink and pencil. 9 pages. |
| folder 7 | Source Book of Proposed Music Notation Reforms: drafts 1-3, chapter 4 – 2. Combination of pencil MS and typescript; annotated in pencil. 5 pages. |
| folder 8 | Source Book of Proposed Music Notation Reforms: drafts (various). Pages numbered 1672 to 3. Typescript; annotated in pencil. |
| folder 9 | Source Book of Proposed Music Notation Reforms: notes. Pages run from (Comparative Table of Staff Formats) to (Rambures 18). MS in pencil and colored pencil. |
| folder 10 | Source Book of Proposed Music Notation Reforms: drafts (various). Pages numbered 1650 to 19. Typescript; annotated in pencil. |
| folder 11 | Source Book of Proposed Music Notation Reforms: drafts 1 – 4, chapter 7. Combination of pencil MS and typescript; annotated in pencil. 9 pages. |
| folder 12 | Source Book of Proposed Music Notation Reforms: drafts/notes (various). Pages run from 1799 to 600a. Typescript; annotated in pencil. |
| folder 13 | Source Book of Proposed Music Notation Reforms: drafts/notes (various). Pages numbered 6-1 to 1560. Typescript; annotated in ink and pencil. |
| folder 14 | Source Book of Proposed Music Notation Reforms: drafts/notes (various) (1 of 4). Pages run from (1909) to (1888. Christian A. B. Huth). Combination of pencil MS and typescript; annotated in pencil. |
Box 46
| folder 1 | Source Book of Proposed Music Notation Reforms: drafts/notes (various) (1 of 4). Pages run from (Austman) to (La Salle’s proposal). Combination of pencil MS and typescript; annotated in pencil. |
| folder 2 | Source Book of Proposed Music Notation Reforms: drafts/notes (various) (1 of 4). Pages run from (Saveur) to (Hartmann). Combination of pencil MS and typescript; annotated in pencil. |
| folder 3 | Source Book of Proposed Music Notation Reforms: drafts/notes (various) (1 of 4). Pages run from (1958. Rodney Fawcett) to (1985 William Tapley). Combination of pencil MS and typescript; annotated in pencil. |
| folder 4 | Source Book of Proposed Music Notation Reforms: drafts/notes (1 of 3). Pages run from (Johann Jakob Froberger) to (Thelwall). Combination of pencil MS and typescript; annotated in pencil. |
| folder 5 | Source Book of Proposed Music Notation Reforms: drafts/notes (2 of 3). Pages run from (1902. Paul Riesen) to (1934 Marguerita Roesgen-Champion). Combination of pencil MS and typescript; annotated in pencil. |
| folder 6 | Source Book of Proposed Music Notation Reforms: drafts/notes (3 of 3). Pages run from (1936. Oewaron Nadjen) to (Footnotes). Combination of pencil MS and typescript; annotated in pencil. |
| folder 7 | Source Book of Proposed Music Notation Reforms: second complete draft, front matter. Pages numbered 1(iii) to 6a(xv). Combination of pencil MS and typescript; annotated in ink and pencil. |
| folder 8 | Source Book of Proposed Music Notation Reforms: second complete draft, chapter 1. Pages numbered 7 to 16a. Typescript; annotated in ink and pencil. |
Box 47
| folder 1 | Source Book of Proposed Music Notation Reforms: second complete draft, chapter 2. Pages numbered 17 to 165e. Typescript; annotated in ink and pencil. |
| folder 2 | Source Book of Proposed Music Notation Reforms: second complete draft, chapter 3. Pages numbered 166 to 199a. Typescript; annotated in ink and pencil. |
| folder 3 | Source Book of Proposed Music Notation Reforms: second complete draft, chapter 4. Pages numbered 200 to 307. Typescript; annotated in ink, pencil and colored pencil. |
| folder 4 | Source Book of Proposed Music Notation Reforms: second complete draft, chapter 4, continued. Pages numbered 308 to 427. Typescript; annotated in ink, pencil and colored pencil. |
| folder 5 | Source Book of Proposed Music Notation Reforms: second complete draft, chapter 5. Pages numbered 428 to 502. Typescript; annotated in ink, pencil and colored pencil. |
| folder 6 | Source Book of Proposed Music Notation Reforms: second complete draft, chapter 6. Pages numbered 503 to 555a. Typescript; annotated in ink, pencil and colored pencil. |
| folder 7 | Source Book of Proposed Music Notation Reforms: second complete draft, chapter 7. Pages numbered 556 to 600a. Typescript; annotated in ink and pencil. |
Box 48
| folder 1 | Source Book of Proposed Music Notation Reforms: second complete draft, appendices. Pages numbered 601 to 671. Typescript; annotated in ink, pencil and colored pencil. |
| folder 2 | Source Book of Proposed Music Notation Reforms: final draft, front matter. Pages run from 1st page of index to 6d. Combination of ink MS, MS in colored pencil and typescript; annotated in ink and pencil. |
| folder 3 | Source Book of Proposed Music Notation Reforms: final draft, chapter 1. Pages numbered 7 to 16. Typescript; annotated in ink and colored pencil. |
| folder 4 | Source Book of Proposed Music Notation Reforms: final draft, chapter 2. Pages numbered 17 to 165d. Typescript; annotated in ink and colored pencil. |
| folder 5 | Source Book of Proposed Music Notation Reforms: final draft, chapter 3. Pages numbered 166 to 199. Typescript; annotated in ink and colored pencil. |
| folder 6 | Source Book of Proposed Music Notation Reforms: final draft, chapter 4. Pages numbered 200 to 346. Typescript; annotated in ink and colored pencil. |
| folder 7 | Source Book of Proposed Music Notation Reforms: final draft, chapter 4, continued. Pages numbered 347 to 427. Typescript; annotated in ink and colored pencil. |
| folder 8 | Source Book of Proposed Music Notation Reforms: final draft, chapter 5. Pages numbered 428 to 502. Typescript; annotated in ink and colored pencil. |
| folder 9 | Source Book of Proposed Music Notation Reforms: final draft, chapter 6. Pages numbered 503 to 555. Typescript; annotated in ink and colored pencil. |
| folder 10 | Source Book of Proposed Music Notation Reforms: final draft, chapter 7. Pages numbered 556 to 600a. Typescript; annotated in ink and colored pencil. |
| folder 11 | Source Book of Proposed Music Notation Reforms: final draft, appendices. Pages numbered 601 to 667. Typescript; annotated in ink and colored pencil. |
| folder 12 | Source Book of Proposed Music Notation Reforms: final draft, bibliography. Pages numbered 668 to 683. Typescript; annotated in ink, pencil and colored pencil. |
Box 49
| folder 1 | [Source Book of Proposed Music Notation Reforms]: typescript table of contents, with emendations in pencil by Gardner Read indicating paging of final typescript. 3 pages. |
| folder 2 | Source Book of Proposed Music Notation Reforms: addenda. [Contains various handouts, research notes, patents, and other documents.] Pages run from (List of Music Notation Proposals) through (Comments: compiled by Markus Klein). |
| folder 3 | Source Book of Proposed Music Notation Reforms: manuscript examples. Various musical fragments, extracted from unidentified compositions. MS in pencil. 10 pages of music. |
| folder 4 | Source Book of Proposed Music Notation Reforms. Letters. Includes publishing agreement, correspondence with publisher(s) and readers, and related documents. N.B. Materials originally housed in labeled 3-ring binder. |
Box 134
| folder 6 | Style and Orchestration: corrected gallery proofs. Pages numbered BF-38 to CD-32. Publisher’s proof copy; corrections in colored pencil. |
Box 49
| folder 5 | Style and Orchestration. Typescript MS; corrections in pencil and colored pencil. Pages numbered ix – 115. |
| folder 6 | Style and Orchestration. Typescript MS; corrections in pencil and ink. Pages numbered 115 – 286. |
| folder 7 | Style and Orchestration. Typescript MS; corrections in pencil and ink. Pages numbered 1 – 363. |
| folder 8 | Critique and Notes for Style and Orchestration. Combination of typescript and MS in pencil, ink and colored pencil. 46 pages. Accompanied by a letter to Nelson M. Jansky, music editor at Allyn and Bacon, from Gardner Read, 22 June 1962. Typescript; annotated in pencil. 2 pages. Also accompanied by a letter to Gardner and Vail Read from William Thomas, music editor at Allyn and Bacon, Inc., dated July 12, 1962. Typescript; inscribed in ink by William Thomas. 2 pages. Also accompanied by a letter to Vail Read from Paul F. Stanton, October 1, 1962. Typescript; inscribed in ink by Paul F. Stanton. 1 page. |
| folder 9 | Style and Orchestration. Opinions – Letters. |
Box 50
| folder 1 | Music Notation. Evaluations. Contains typescript comments from 3 invited readers. N.B. Materials originally housed in labeled 3-prong folder. |
| folder 2 | Music Notation. Letters: 1963–1971. Includes correspondence with publisher(s), readers, and others. N.B. Materials originally housed in labeled 3-prong folder. |
| folder 3 | Music Notation. Letters: 1972–1982. Includes correspondence with readers and others. N.B. Materials originally housed in labeled 3-prong folder. |
| folder 4 | Music Notation. Letters: 1983–1988. Includes correspondence with publisher(s), readers, and others. N.B. Materials originally housed in labeled 3-prong folder. |
| folder 5 | Music Notation. Opinions. Primarily correspondence from readers to the publisher (e.g., completed opinion/comment forms sent with review copies). N.B. Materials originally housed in labeled 3-prong folder. |
Box 50
| folder 6 | Compendium of Modern Instrumental Techniques. Letters, Opinions, etc. Includes publishing agreement, correspondence with publisher(s) and readers, and related documents. N.B. Materials originally housed in labeled 3-prong folder. |
Box 50
| folder 7 | Twentieth-Century Music Notation. Excerpts from discarded draft (1 of 2). Repro of typescript. Pages numbered 28–429. Accompanied by pencil MS note: “Discarded Xerox pages from book project. Never completed or published. Not complete.” |
| folder 8 | Twentieth-Century Music Notation. Excerpts from discarded draft (2 of 2). Repro of typescript. Pages numbered 435–958. |
Box 50
| folder 9 | LW33. “Our National Culture in Jeopardy.” Commencement address by Gardner Read for the exercises at Doane College, Crete, Nebraska, June 1962. Privately printed. 11 pp. |
| folder 10 | LW33. “Our National Culture in Jeopardy.” Address delivered at Doane College, June 4, 1962. Typescript. 13 pp. |
| folder 11 | LW33. “Our National Culture in Jeopardy.” Draft of commencement address by Gardner Read for the exercises at Doane College, Crete, Nebraska, June 1962. Typescript; corrections in red ink and pencil. 90 pages. Accompanied by 6 press clippings, 4 of which contain sections underlined in red ink. Also accompanied by a program for Doane College’s Commencement Exercises and Conferring of Degrees, 1961 and the Doane College Bulletin 1961. |
| folder 12 | LW37. “Our National Culture in Jeopardy.” Reprinted in The Illinois Music Educator 24/3 (1964): 27-36. |
| folder 13 | LW38. “To Hear—Or Not To Hear?” Lecture typescript with emendations by Gardner Read. 14 pp. of text. |
| folder 14 | LW38. “To hear – or not to hear?” Draft of speech. Typescript; corrections in red ink and pencil. 58 pages. Accompanied by a press clipping titled “Light Cast on Dance by ‘The Chequer’d Shade’”; sections of the article have been underlined in red ink. (Speech was delivered presumably at Northern Illinois University in DeKalb, Illinois.) |
Box 51
| folder 1 | LW39. “The Art of Listening” Article [reprint of “To Hear—Or Not To Hear?”]. In Fine Arts News 3/4 (March, 1964): 1, 3. |
| folder 2 | LW42. “The Artist in Residence: Fact or Fancy.” Essay. Typescript. 12 pages. |
Box 86
| folder 2 | LW42. Draft of speech – “The Artist in Residence: Fact or Fancy.” Typescript; annotated in ink and pencil. 35 pages. |
Box 51
| folder 3 | LW50. “The Dilemma of Notation.” Lecture typescript and audio example list with emendations by Gardner Read. 31 pp. of text. |
| folder 4 | LW50. “The Dilemma of Notation.” Published lecture script. Printed with lectures by James Hearst and Halsey Stevens in North Texas State University, Three Lectures (Denton, TX: North Texas State University, 1969). |
| folder 5 | LW53. “The Composer in America: Reflections on a Theme of Stravinsky” [collected essays by various composers]. In College Music Symposium (volume/issue not marked). Gardner Read’s essay on pages 88-89. 2 copies. |
| folder 6 | [LW—.] “Introduction.” In Boston University Festival of Music, 1950, program book. |
| folder 7 | Articles and Essays. I. (1933). Unpublished essays submitted for courses at the Eastman School of Music. Typescript. Includes: Johann Sebastian Bach (LW60); The Harp (LW 61); The Oratorio (LW62); Chamber Music (LW63); The Literature of the Pianoforte (LW64); The Opera (LW65); The Orchestra (LW66); The Art Song (Lied) (LW67). N.B. Materials originally housed in labeled 3-prong folder. |
| folder 8 | Articles and Essays. II. (1934-36). Unpublished essays submitted for courses at the Eastman School of Music. Typescript. Includes: Symphony No. 5 in E Minor, “From the New World” (Dvorak) (LW68); The Nature of Romanticism in Music (LW69); Analytical Technic (LW70); A Composer’s Approach to Musical Imagery and Imagination (LW71). N.B. Materials originally housed in labeled 3-prong folder. |
| folder 9 | Articles and Essays. IV. (1938-50). Typescript. Includes: Prizes versus Commissions (LW20); The Teaching of Contemporary Compositional Technic (LW25); Youth and Music (LW21); Problems of the Younger Composers of Today (LW23); What Is Modern Music (LW26); Pedantics versus Living Music (LW88); A Statement of the Aims and Objectives of the Theory Department (LW—). N.B. Materials originally housed in labeled 3-prong folder. |
| folder 10 | Articles and Essays. V. (1950-62). Typescript. Includes: [untitled article] (LW—); [Artist’s Workshop] (LW28); Music: 1953 (LW29); A Discussion of Ralph Vaughan Williams’ Symphony in E Minor (LW89); [untitled article] (LW—). N.B. Materials originally housed in labeled 3-prong folder. |
| folder 11 | Articles and Essays. VI. (1962-64). Typescript. Includes: Our National Culture in Jeopardy (LW33); To Hear—Or Not to Hear? (LW38); The Artist-in-Residence: Fact or Fancy? (LW42); The Orchestra (LW—); Some Problems of Rhythmic Notation (LW48); The Pleasures of Music (LW91). N.B. Materials originally housed in labeled 3-prong folder. |
| folder 12 | Articles and Essays. VII. (1965-75). Typescript. Includes: The Dilemma of Notation (LW50); [Contemporary Vocal Music] (LW92); essay for Campus Focus: The Composer in Academia (LW53); What’s in a Name. (LW54); The New Language of Modern Music (LW56); From the Scholar’s Chair (LW59); liner notes for Spirals and Herstory II (LW58). N.B. Materials originally housed in labeled 3-prong folder. |
| folder 13 | Articles on Mexico (1964). Typescript. Includes: [Current Attractions: Festival of Contemporary Music] (LW46); [Composer and Government—Welfare or Frustration?] (LW45); Mexico, Mission 2: 1964 (LW47); Mexico Diary, 1964 (LW90). N.B. Materials originally housed in labeled 3-prong folder. |
| folder 14 | Reviews published in Notes. Typescript (pages extracted from journal and affixed to letter-size paper). Publication dates range from 1949 to 1977. |
| folder 15 | Published music reviews in Notes. Typescript drafts. Dates include: June 1957 (LW98); September 1958 (LW99); September 1963 (LW101); June 1964 [sic] (actually published in the June, 1974 issue; LW117); June 1968 (LW102); March 1969 (LW103); June 1969 (LW104); December 1969 (LW105); March 1970 (LW106); June 1970 (LW107); December 1970 (LW108); March 1971 (LW109); June 1971 (LW110); December 1971 (LW111); March 1972 (LW112); June 1972 (LW113); September 1972 (LW114); June 1973 (LW115); December 1973 (LW116); September 1974 (LW118); December 1974 (LW119); March 1975 (LW120); December 1975 (LW121); March 1976 (LW122); September 1976 (LW123); September 1977 (LW124). |
| folder 16 | Book and Music Reviews. Typescript. Primarily reviews for The Boston Globe, as well as one review for The World of Music. N.B. Materials originally housed in labeled 3-prong folder. |
Box 52
| folder 1 | “The Orchestra” by Vail Read. Article for The Book of Knowledge. Typescript; annotated in ink, pencil and colored pencil. 67 pages. Accompanied by a pamphlet titled “Information for Contributors to The Book of Knowledge”. |
