| Composer | Composition | Publisher | Dimensions (in.) | Num of Copies (1 unless noted otherwise) | Cover (Paper unless noted otherwise) | Minor Damage | |
| 1 | Auber | Fra Diavolo – Overture | Southern Music | 7.5 x 10.5 | |||
| 2 | Bach, C.P.E | Concerto for Orchestra in D major | Broude Bros. | 7.5 x 10.5 | |||
| 3 | Bach, J.S. | 6 Brandenburg Concertos Vols. 1 and 2 | Lea Pocket Scores | 5 x 6.5 | |||
| 4 | Bach, J.S. | 185 4-Part Chorales | Lea Pocket Scores | 5 x 6.5 | 3 | ||
| 5 | Bach, J.S. | 371 4-Part Chorales – Vol 1 – Nos. 1-198 | Kalmus | 14 x 9 | |||
| 6 | Bach, J.S. | Art of the Fugue | Kalmus | 8 x 11 | |||
| 7 | Bach, J.S. | Cantata No.21 | Broude Bros. | 5.5 x 7.5 | Board | ||
| 8 | Bach, J.S. | Cantata No.39 | Broude Bros. | 5.5 x 7.5 | |||
| 9 | Bach, J.S. | Cappriccio in Bb Major on the Departure to Distant Climes of His Dearly Beloved Brother | Kalmus | 10 x 13.5 | |||
| 10 | Bach, J.S. | Goldberg Variations (Ed. Hans Bischoff) | Kalmus | 10 x 13.5 | |||
| 11 | Bach, J.S. | Italian Concerto (Ed. Hans Bischoff) | Kalmus | 10 x 13.5 | |||
| 12 | Bach, J.S. | Mass in B Minor (The High Mass) | Ernst Eulenburg | 5.5 x 7.5 | |||
| 13 | Bach, J.S. | The St. Matthew Passion | Dover | 6.5 x 8.5 | |||
| 14 | Bartok | Contrasts for Violin, Clarinet and Piano | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 15 | Bartok | First Rhapsody (Folk Dances) for Violin and Orchestra | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 16 | Bartok | Piano Concerto No.1 | Boosey and Hawkes | 5.5 x 7.5 | |||
| 17 | Bartok | Piano Concerto No.3 | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 18 | Bartok | Sonata for 2 Pianos and Percussion | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 19 | Bartok | Violin Concerto | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 20 | Beethoven | 17 String Quartets Vol.3 – Op.74, 95, 127, 130. | Lea Pocket Scores | 5 x 6.5 | |||
| 21 | Beethoven | 17 String Quartets Vol.4 – Op.131, 132, 135, 133. | Lea Pocket Scores | 5 x 6.5 | |||
| 22 | Beethoven | Fantasy for Piano, Chorus and Orchestra | Ernst Eulenburg | 5.5 x 7.5 | |||
| 23 | Beethoven | Overtures: Coriolan; Egmont; Fidelio; Leonore 1, 2, 3; Prometheus. | Edward B. Marks | 9 x 12 | |||
| 24 | Beethoven | Piano Concerto No.1 | Boosey and Hawkes | 5.5 x 7.5 | |||
| 25 | Beethoven | Piano Concerto No.2 | Boosey and Hawkes | 5.5 x 7.5 | |||
| 26 | Beethoven | Piano Concerto No.3 | Boosey and Hawkes | 5.5 x 7.5 | |||
| 23 | Beethoven | Piano Concerto No.4 | Ernst Eulenburg | 5.5 x 7.5 | |||
| 29 | Beethoven | Piano Concerto No.5 | Boosey and Hawkes | 5.5 x 7.5 | |||
| 30 | Beethoven | Symphony No.1 | Ernst Eulenburg | 5.5 x 7.5 | |||
| 31 | Beethoven | Symphony No.1 | Penguin | 8 x 5 | * | ||
| 32 | Beethoven | Symphony No.2 | Ernst Eulenburg | 5.5 x 7.5 | |||
| 33 | Beethoven | Symphony No.3 | Heugel and Co. | 5.5 x 7.5 | |||
| 34 | Beethoven | Symphony No.4 | Ernst Eulenburg | 5.5 x 7.5 | |||
| 35 | Beethoven | Symphony No.5 | Ernst Eulenburg | 5.5 x 7.5 | |||
| 36 | Beethoven | Symphony No.5 | Penguin | 8 x 5 | * | ||
| 37 | Beethoven | Symphony No.6 | Ernst Eulenburg | 5.5 x 7.5 | Board | ||
| 38 | Beethoven | Symphony No.7 | Ernst Eulenburg | 5.5 x 7.5 | Board | ||
| 39 | Beethoven | Symphony No.8 | Ernst Eulenburg | 5.5 x 7.5 | Board | ||
| 40 | Beethoven | Symphony No.9 | Ernst Eulenburg | 5.5 x 7.5 | |||
| 41 | Beethoven | Violin Concerto | Boosey and Hawkes | 5.5 x 7.5 | |||
| 42 | Berg | 3 Orchestra Pieces, Op.6. | Philharmonia | 5.5 x 7.5 | |||
| 43 | Berlioz | Damnation of Faust | Heugel and Co. | 5.5 x 7.5 | |||
| 44 | Berlioz | Harold in Italien | Ernst Eulenburg | 5.5 x 7.5 | |||
| 45 | Berlioz | Requiems of Mozart and Berlioz. | Edward B. Marks | 9 x 12 | |||
| 46 | Berlioz | Roman Carnival Overture | |||||
| 47 | Berlioz | Symphonie fantastique | Ernst Eulenburg | 5.5 x 7.5 | Board | ||
| 48 | Bernstien | Serenade for Solo Violin, String Orchestra, Harp and Percussion. | G. Schirmer | 7.5 x 10.5 | |||
| 49 | Bernstien | Symphony No.2 “The Age of Anxiety” for Piano and Orchestra | G. Schirmer | 7.5 x 10.5 | |||
| 50 | Bizet | L’Arlesienne. Suite No.2. | Ernst Eulenburg | 5.5 x 7.5 | |||
| 51 | Bloch | Schelomo | G. Schirmer | 7.5 x 10.5 | |||
| 52 | Boulez, P. | le marteaux sans maitre. | Universal Edition | 7 x 9.5 | Some water damage on cover and title page. | ||
| 53 | Brahms | Hungarian Dances Nos. 1, 3, 10. | Kalmus | 5.5 x 7 | |||
| 54 | Brahms | Symphony No.1. | Ernst Eulenburg | 5.5 x 7.5 | Board | ||
| 55 | Brahms | Symphony No.2 | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 56 | Brahms | Symphony No.3 | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 57 | Brahms | Symphony No.4 | Ernst Eulenburg | 5.5 x 7.5 | |||
| 58 | Brahms | Variations on a Theme by Haydn | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 59 | Brahms | Violin Concerto in D | Penguin | 8 x 5 | |||
| 60 | Bruch | Violin Concerto, Op.26. | Ernst Eulenburg | 5.5 x 7.5 | Board | ||
| 61 | Britten | Four Sea Interludes | Boosey and Hawkes | 5.5 x 7.5 | |||
| 62 | Britten | Noye’s Fludde, Op.59. | Boosey and Hawkes | 5.5 x 7.5 | |||
| 63 | Britten | Serenade, Op.31 | Boosey and Hawkes | 5.5 x 7.5 | |||
| 64 | Britten | Soirees musicales | Boosey and Hawkes | 5.5 x 7.5 | |||
| 65 | Chabrier | Espana | Ernst Eulenburg | 5.5 x 7.5 | |||
| 66 | Cherubini | Requiem | Ernst Eulenburg | 5.5 x 7.5 | |||
| 67 | Colgrass, M. | ||||||
| 68 | Copland | Appalachian Spring (reduced) | Boosey and Hawkes | 5.5 x 7.5 | |||
| 69 | Copland | Appalachian Spring (full) | Boosey and Hawkes | 7 x 10.5 | |||
| 70 | Debussy | Afternoon of a Faun | Kalmus | 5.5 x 7 | |||
| 71 | Debussy | Iberia | Durand and Co. | 6 x 8.5 | |||
| 72 | Debussy | La Mer | Ernst Eulenburg | 5.5 x 7.5 | |||
| 73 | Debussy | Petite Suite | Durand and Co. | 6 x 8.5 | |||
| 74 | Debussy | Three Nocturnes | Boosey and Hawkes | 7 x 10 | |||
| 75 | Dvorak | Cello Concerto | Statni Nakladatelstvi (Czech) | 5.5 x 7.5 | Board | ||
| 76 | Dvorak | Piano Concerto in G minor | Statni Nakladatelstvi (Czech) | 5.5 x 7.5 | Board | ||
| 77 | Dvorak | Scherzo Capriccioso | Statni Nakladatelstvi (Czech) | 5.5 x 7.5 | Board | ||
| 78 | Dvorak | Symphony No.2/7 in D minor | N. Simrock | 5.5 x 7.5 | |||
| 79 | Dvorak | Symphony No.4 in G | Ernst Eulenburg | 5.5 x 7.5 | Board | ||
| 80 | Dvorak | Symphony No.9. “New World” | Pro Art Publications | 5.5 x 7.5 | |||
| 81 | Dvorak | Violin Concerto | Ernst Eulenburg | 5.5 x 7.5 | Board | ||
| 82 | Elgar | Enigma Variations | Ernst Eulenburg | 5.5 x 7.5 | |||
| 83 | Franck | Symphony in D minor | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 84 | Genzmer, H. | Concerto for Flute and Orchestra | Edition Schott | 6 x 9 | Cover stained | ||
| 85 | Gershwin | Rhapsody in Blue (with Jazz Ensemble) (orch. Grofe) | Salabert | 5.5 x 7.5 | |||
| 86 | Glazunov | Violin Concerto | M. P. Belaieff | 5.5 x 7.5 | Board | ||
| 87 | Glinka | Russlan und Ludmila | Ernst Eulenburg | 5.5 x 7.5 | |||
| 88 | Gluck | Mozart and Gluck Overtures: Mozart: Abduction from the Seraglio; Cosi fan Tutti; Don Giovanni; Idomineo; The Impresario; Magic Flute; Marriage of Figaro; Clemenza di Tito. || Gluck: Alceste; Iphigenia in Aulis (ending by Mozart; Iphigenia in Aulis (arr. Wagner); Orpheus and Eurydice. | Edward B. Marks | 9 x 12 | |||
| 89 | Grieg | Peer Gynt. Suite No.1. | Kalmus | 5.5 x 7.5 | |||
| 90 | Handel | 16 Concerti for Organ and Orchestra Vol.1, Nos.1-8. | Lea Pocket Scores | 5 x 6.5 | |||
| 91 | Handel | Ode for St. Cecilia’s Day (1739). Praise of Harmony. | Lea Pocket Scores | 5 x 6.5 | |||
| Handel | Der Messias | Edition Peters – Leipzig | 5.5 x 7.5 | ||||
| 92 | Handel | The Messiah (Vocal Score) | G. Schirmer | 7 x 10.5 | |||
| 93 | Handel | The Water Music | Ernst Eulenburg | 5.5 x 7.5 | |||
| 94 | Haydn | Cello Concerto in D, Op.101. | Broude Bros. | 7.5 x 11 | |||
| 95 | Haydn | The Creation (Die Schopfung). | Breitkopf and Hartel | 9 x 12 | Hardcover Conductor’s Score – Inquire about price. | ||
| 96 | Haydn | The Seasons (Die Jahreszeiten). | Breitkopf and Hartel | 9 x 12 | Hardcover Conductor’s Score – Inquire about price. | ||
| 97 | Haydn | Symphony in D. “La Chasse” (Full score w/ pno reduction (2 hands)) | Southern Music | 7.5 x 11 | |||
| 98 | Haydn | Symphony No.4 (101) in D major. “The Clock” | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 99 | Haydn | Symphony No.11 (100) in D major. “Military” | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 100 | Haydn | Symphony No.16 (?). “Oxford” (Full score w/ pno reduction (2 hands)) | Southern Music | 7.5 x 11 | |||
| 101 | Haydn | Trumpet Concerto in Eb | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 102 | Henze | Funf neapolitanische Lieder fur mittlere Stimme und Kammerorchester. | Edition Schott | 6 x 9 | |||
| 103 | Hindemith | Sinfonische Metamorphosen | B. Schott’s Sohne/Mainz | 5.5 x 7.5 | Board | ||
| 104 | Hindemith | Symphonie. Mathis der Maler. | Edition Schott | 5.5 x 7.5 | |||
| 105 | Ives | Piano Sonata No.2 “Concord, Mass; 1840-60” | Kalmus | 5 x 7 | |||
| 106 | Ives | Scherzo (Over the Pavements). For Chamber Orchestra. – Parts (marked in pencil) | Peer International Corp. | 9 x 12 | |||
| 107 | Ives | Symphony No.2. For Large Orchestra. | Southern Music | 9 x 12 | |||
| 108 | Janacek | Sinfonietta | Philharmonia | 5.5 x 7.5 | |||
| 109 | Kabalevsky | Colas Breugnon | Leeds Music Corp. | 5.5 x 8.5 | |||
| 110 | Kabalevsky | The Comedians | Leeds Music Corp. | 6 x 9 | |||
| 111 | Khachaturian | Cello Concerto – Piano Reduction and solo part (separate) | Leeds Music Corp. | 9 x 12 | |||
| 112 | Khachaturian | Gayne Ballet. Suite No.1. (Sabre Dance; Lullaby: Dance of the Rose Maidens.) | Leeds Music Corp. | 6 x 9 | |||
| 113 | Kodaly | Hary Janos Suite. | Universal Edition | 10.5 x 12 | Cover taped; otherwise v.g. | ||
| 114 | Liszt | Les Preludes | Philharmonia | 5.5 x 7.5 | |||
| 115 | Liszt | Piano Concerto No.1 Eb. “Le Triangle” : ) | Ricordi | 5.5 x 7.5 | |||
| 116 | Mahler | Symphony No.1 | Ernst Eulenburg | 5.5 x 7.5 | |||
| 117 | Mahler | Symphony No.2 | Kalmus | 7 x 10.5 | |||
| 118 | Mahler | Symphony No.3 | Universal Edition | 7 x 10 | |||
| 119 | Mahler | Symphony No.4 | Kalmus | 5.5 x 7.5 | |||
| 120 | Mahler | Symphony No.5 | Edition Peters | 5.5 x 7.5 | |||
| 121 | Mahler | Symphony No.6 | Ernst Eulenburg | 5.5 x 7.5 | |||
| 122 | Mahler | Symphony No.7 | Dover | 8.5 x 11 | |||
| 123 | Mahler | Symphony No.9 | Universal Edition | 7 x 10 | |||
| 124 | Mendelssohn | A Midsummer Night’s Dream | Ernst Eulenburg | 5.5 x 7.5 | |||
| 125 | Mendelssohn | The Hebrides Overture | Ernst Eulenburg | 5.5 x 7.5 | |||
| 126 | Mendelssohn | Symphony No.4 in E. “Italian” | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 127 | Messiaen | Oiseaux exotiques | Universal Edition | 7 x 9.5 | |||
| 128 | Messiaen | Quartet for the End of Time | Editions Durand et Cie. | 6 x 8.5 | |||
| 129 | Milhaud | La Creation du Monde | Durand and Co. | 7 x 9 | |||
| 130 | Milhaud | Suite francaise | MCA Music | 6 x 9 | |||
| 131 | Mozart | Don Giovanni (full score) | Ernst Eulenburg | 5.5 x 7.5 | |||
| 132 | Mozart | Mozart and Gluck Overtures: Mozart: Abduction from the Seraglio; Cosi fan Tutti; Don Giovanni; Idomineo; The Impresario; Magic Flute; Marriage of Figaro; Clemenza di Tito. || Gluck: Alceste; Iphigenia in Aulis (ending by Mozart; Iphigenia in Aulis (arr. Wagner); Orpheus and Eurydice. | Edward B. Marks | 9 x 12 | |||
| 133 | Mozart | Piano Concerto in Eb major, K.482. | Heugel and Co. | 5.5 x 7.5 | |||
| 134 | Mozart | Piano Concerto No.11 in F major. | Broude Bros. | 8 x 10.5 | |||
| 135 | Mozart | Piano Concerto No.21 in C major. | Broude Bros. | 8 x 10.5 | |||
| 136 | Mozart | Piano Sonatas and Fantasies, Vol.2 – K.331, 332, 333, 475, 457, 545, 570, 576, 394, 396, 397, 533, 494. | Lea Pocket Scores | 5 x 6.5 | |||
| 137 | Mozart | Requiems of Mozart and Berlioz. | Edward B. Marks | 9 x 12 | |||
| 138 | Mozart | Symphony in D without Menuet, K.504. | Ernst Eulenburg | 5.5 x 7.5 | Board | ||
| 139 | Mozart | Symphony No.35 in D. “Haffner” | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 140 | Mozart | Symphony No.39 in Eb. | Penguin | 8 x 5 | |||
| 141 | Mozart | Symphony No.40 in G minor | Kalmus | 5.5 x 7.5 | Board | ||
| 142 | Mozart | Symphony No.41. | Broude Bros. | 8 x 10.5 | |||
| 143 | Mussorgsky | Night On the Bare Mountain | Ernst Eulenburg | 5.5 x 7.5 | |||
| 144 | Mussorgsky | Picture at an Exhibition (orch: Ravel) | Edition Russe de Musique | 5.5 x 7.5 | Board | ||
| 145 | Nielsen | Clarinet Concerto | Samfundet…Dansk Musik | 6 x 9 | Slight water damage on upper border | ||
| 146 | Nielsen | Symphony No.5 | Skandinavisk Musikforlag | 5.5 x 7.5 | |||
| 147 | Nielsen | Symphony No.6 | Samfundet…Dansk Musik | 6 x 8 | |||
| 148 | Orff | Die Bernauerin [solo tenor, solo soprano, chorus, large orch and large percussion section] | B. Schott’s Sohne/Mainz | 9 x 12 | |||
| 149 | Prokofiev | Ala et Lolly (Scythian Suite), Op.20. | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 150 | Prokofiev | Alexander Nevsky (Cantata for Chorus and Orchestra) | Leeds Music Corp. | 5.5 x 8.5 | |||
| 151 | Prokofiev | Cinderella. Suite No.1. | Leeds Music Corp. | 6 x 9 | |||
| 152 | Prokofiev | Peter and the Wolf | Pro Art Publications | 5.5 x 7.5 | |||
| 153 | Prokofiev | Piano Concerto No.3 | Boosey and Hawkes | 5.5 x 7.5 | |||
| 154 | Prokofiev | Romeo and Juliet. Suite No.1. | Leeds Music Corp. | 5.5 x 8.5 | |||
| 155 | Prokofiev | Symphony No.3 | Boosey and Hawkes | 5.5 x 7.5 | |||
| 156 | Prokofiev | Symphony No.5 | Kalmus | 7 x 10 | |||
| 157 | Prokofiev | Violin Concerto No.1 for Violin | International Music Co. | 5.5 x 7.5 | Board | ||
| 158 | Prokofiev | Violin Concerto No.2 for Violin | Boosey and Hawkes | 5.5 x 7.5 | |||
| 159 | Rachmaninov | Piano Concerto No.3 | Boosey and Hawkes | 5.5 x 7.5 | |||
| 160 | Ravel | Daphnis et Chloe | Durand and Co. | 6 x 8.5 | |||
| 161 | Ravel | La Valse | Durand and Co. | 6 x 8.5 | |||
| 162 | Ravel | Mother Goose (Ma mere l’oye) Suite | Durand and Co. | 6 x 8.5 | |||
| 163 | Ravel | Piano Concerto in G | Durand and Co. | 6 x 8.5 | |||
| 164 | Ravel | Rapsodie Espagnol | Durand and Co. | 6 x 8.5 | |||
| 165 | Respighi | Feste Romane | Ricordi | 5.5 x 7.5 | |||
| 166 | Respighi | Fountains of Rome | Ricordi | 5.5 x 7.5 | |||
| 167 | Reynold, R. | The Emperor of Ice Cream. (8 voices, pno, perc, cb). | Edition Peters | 10.5 x 7 | |||
| 168 | Reynold, R. | Quick are the Mouths of Earth. (ob, 3 lutes, 3 vc, tpt, tbn, btbn, pno, 2 perc). | Edition Peters | 10.5 x 7 | |||
| 169 | Rimsky-Korsakov | Capriccio Espagnol | Pro Art Publications | 5.5 x 7.5 | |||
| 170 | Rimsky-Korsakov | Scheherezade | Kalmus | 10 x 13 | Pages browned. | ||
| 171 | Rorem, Ned | Eleven Studies for Eleven Players | Boosey and Hawkes | 9 x 12 | |||
| 172 | Roussel | Le Festin de l’Araignee | Durand and Co. | 6 x 8.5 | |||
| 173 | Schaefer, R. M. | Five Studies on Texts by Prudentius for 4 Flutes and Soprano. | BMI Canada Ltd. | 9 x 12 | |||
| 174 | Schoenberg, A. | Violin Concerto | G. Schirmer | 7.5 x 10.5 | |||
| 175 | Schubert | Symphony No.7 in C major | Boosey and Hawkes | 5.5 x 7.5 | |||
| 176 | Schuller, G. | American Triptych. A Study in Textures. For Orchestra. | Associated Music Publishers | 7 x 10.5 | |||
| 177 | Schuller, G. | Seven Studies on Themes of Paul Klee. | Universal Edition | 9 x 12 | |||
| 178 | Schuman, W. | Credendum (Article of Faith). For Orchestra. | Merion Music, Inc. | 8 x 11 | |||
| 179 | Schumann | Piano Concerto in A minor | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 180 | Schumann | Piano Concerto in A minor | Penguin | 8 x 5 | |||
| 181 | Schumann | Piano Trio in A minor, Op.98 | Ernst Eulenburg | 5.5 x 7.5 | |||
| 182 | Schumann | Symphony No.1 in Bb major | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 183 | Schumann | Symphony No.4 in D minor | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 184 | Scriabin | Le Poeme de l’Extase (Poem of Ecstasy.) | Ernst Eulenburg | 5.5 x 7.5 | |||
| 185 | Shostakovich | Symphony No.1 | Leeds Music Corp. | 5.5 x 8.5 | |||
| 186 | Shostakovich | Symphony No.5 | Kalmus | 6 x 9 | |||
| 187 | Shostakovich | Symphony No.8 | Breitkopf and Hartel | 5.5 x 7.5 | |||
| 188 | Shostakovich | Symphony No.9 | Leeds Music Corp. | 6 x 9 | Slight water damage to top border. | ||
| 189 | Shostakovich | Symphony No.10 | Leeds Music Corp. | 6 x 9 | |||
| 190 | Shostakovich | Symphony No.12 (The Year 1917) | State Music Publishers Moscow | 5.5 x 8.5 | Cardboard | ||
| 191 | Shostakovich | Symphony No.15 | Hans Sikorski | 5.5 x 8 | |||
| 192 | Smetana | The Moldau (Vltava) | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 193 | Stockhausen, K. | Nr.5. Zeitmasse. | Universal Edition | 12 x 9 | |||
| 194 | Stockhausen, K. | Nr.6. Gruppen fur drei Orchester. | Universal Edition | 10.5 x 13 | |||
| 195 | Strauss, J. | Blue Danube Waltz | Boosey and Hawkes | 5.5 x 7.5 | |||
| 196 | Strauss, R. | Also Sprach Zarathustra | Ernst Eulenburg | 5.5 x 7.5 | |||
| 197 | Strauss, R. | Don Juan | Kalmus | 9 x 12 | |||
| 198 | Strauss, R. | Don Quixote | Ernst Eulenburg | 5.5 x 7.5 | |||
| 199 | Strauss, R. | Ein Heldenleben | International Music Co. | 6.5 x 8.5 | |||
| 200 | Strauss, R. | Sinfonia Domestica | Ernst Eulenburg | 5.5 x 7.5 | |||
| 201 | Strauss, R. | Til Eulenspiegel | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 202 | Stravinsky | Apollon Musagete (Apollo) | Boosey and Hawkes | 5.5 x 7.5 | |||
| 203 | Stravinsky | Firebird Suite (1919) | Kalmus | 9 x 12 | Board | ||
| 204 | Stravinsky | Les Noces | Kalmus | 5.5 x 8 | |||
| 205 | Stravinsky | Renard | Kalmus | 5.5 x 7 | |||
| 206 | Stravinsky | Symphony No.1 in Eb | Rob, Forberg/Bad Godesberg | 5.5 x 7.5 | |||
| 207 | Tchaikovsky | 1812 Overture | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 208 | Tchaikovsky | Capriccio Italien | Ernst Eulenburg | 5.5 x 7.5 | Board | ||
| 209 | Tchaikovsky | Piano Concerto No.1 | Ernst Eulenburg | 5.5 x 7.5 | Board | ||
| 210 | Tchaikovsky | Romeo and Juliet Fantasy Overture | Pro Art Publications | 5.5 x 7.5 | |||
| 211 | Tchaikovsky | Symphony No.4 | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 212 | Tchaikovsky | Symphony No.5 | Boosey and Hawkes | 5.5 x 7.5 | Board | ||
| 213 | Tchaikovsky | Violin Concerto | Ernst Eulenburg | 5.5 x 7.5 | Board | ||
| 214 | Varese | Ecuatorial. | Colfranc Music | 7 x 10 | |||
| 215 | Varese | Hyperprism. | Colfranc Music | 7 x 10 | |||
| 216 | Varese | Integrales. | Colfranc Music | 7 x 10 | |||
| 217 | Varese | Octandre. | Colfranc Music | 7 x 10 | |||
| 218 | Varese | Offrandes. | Colfranc Music | 7 x 10 | |||
| 219 | Verdi | Requiem (vocal score) | G. Schirmer | 7 x 10.5 | |||
| 220 | Wagner | The Flying Dutchman | Ernst Eulenburg | 5.5 x 7.5 | |||
| 221 | Wagner | Lohengrin Overture | Heugel and Co. | 5.5 x 7.5 | |||
| 222 | Wagner | Siegfried Idyll | Penguin | 8 x 5 | |||
| 223 | Walton | Façade. An Entertainment. With Poems by Edith Sitwell. (complete). | Oxford University Press | 7 x 10 | |||
| 224 | Webern | Konzert, Op.24. | Philharmonia | 5.5 x 7.5 | |||
| OPERA | |||||||
| 1 | Berlioz | Romeo and Juliet | Edition Peters | 5.5 x 7.5 | |||
| 2 | Puccini | La Boheme (full score) | Dover | Large | |||
| 3 | Puccini | La Boheme (vocal score) | G. Ricordi | Large | |||
| 4 | Puccini | Tosca | Dover | Large | |||
| 5 | Verdi | Aida | Dover | Large | |||
| 6 | Verdi | Otello | Dover | Large | |||
| 7 | Verdi | Il Trovatore (Metropolitan Opera Libretto) | Fred Rullman, Inc. | Large | |||
| 8 | Verdi | La Traviata | Dover | Large | |||
| 9 | Wagner | Tannhauser | Dover | Large | |||
| 10 | Wagner | Tristan und Isolde | Dover | Large |
Category Archives: Articles
SCORES
LISTENING to the PAST, an addendum.
A relevant addition to my 4 October, 2014 article Listening to the Past, is this excerpt from The New Yorker, 10 November, 2014,:
In Better All the Time, James Surowiecki wrote about the performance revolution among athletes and chess players and compared them to modern musicians.
“The quality of classical musicians has improved dramatically as well, To the point that virtuosos are now, as The Times music critic Anthony Tommasini has observed of pianists, “a dime a dozen”. Even as the number of jobs in classical music has declined, the number of people capable of doing those jobs has soared, as has the caliber of their playing.
James Conlon, the conductor of the Los Angeles Opera has said, “Professional standards are higher everywhare in the world compared to 20 or 40 years ago. Pieces that were once considered too difficult for any but the very best musicians are now routinely played by conservatory students and if anything, the rate of improvement in technical skill is accelerating.”
Music programs are better at identifying talented young musicians. Training methods have improved and the pressure of competition with so many talented musicians competing for so few slots, keeps pushing the standards of over all performance, higher.
That’s actually the biggest change in performance over the past few decades. It’s not so much that the best of the best are so much better as that so many people are so extraordinarilly good.”
Commenting on the increasing number of talented percussionists, Dan Hinger, the late timpanist of the Philadelphia Symphony Orchestra, said, “there are now more people who can play lots of notes, but still, there’s only a few who can play one great note.”

Condos in Toronto
The country around our 1846 farm house was a great place for our kids to grow up. They experienced the seasons, learned to handle farm animals and machinery. They attended a three room schoolhouse and later, small schools where the kids knew everyone’s name. Shown below is our home of 17 years in the midst of 100 acres, 28 miles north of Toronto.
By car In 1969, I was on stage and ready to rehearse at downtown Toronto’s Massey Hall in just forty minutes. Today one would be wise to schedule two hours for the same trip.
Photo, circa 1980. Click on all photos to enlarge.
The view from our condo is east and south. Early in the millinium, condo towers began filling most available empty spaces in Toronto’s downtown core. Shown above is the large auto repair building with its yellow sign. In the photo below, it has been demolished to make room for a Thompson Hotel and condo complex. Beneath the giant crane, a condo building begins to rise across the street. To the extreme right the Bathurst Street bridge, the elevated Gardner Expressway and beyond, patches of blue from the Toronto Harbour, and the tree lined Harbor Islands. On the horizon is the thin blue line of Lake Ontario. On the left is the Rogers Centre, home of baseball’s Blue Jays and the CN Tower begins to disappear from view.
Photo: April 2007
Below, the revolving restaurant is all that remainins of our CN Tower view and the baseball stadium is no longer visible. The construction cranes in the distance suggest Lake Ontario and the islands will soon disappear.
November 29, 2014. Till Birnam Forest come to Dunsinane. Macbeth Act 5, scene 3.
During the last few years, a land rush mentality has swept through downtown Toronto. New condo towers have increased Toronto’s foot print both east and west and dramatically increased its population. Buildings are being thrown up as fast as possible. Some condo towers are completed before cement has settled. Foundations are already showing signs of structural damage due to vibrations from subways, trains and heavy traffic. New condo units with 700 square feet or less, are selling for $550,000.00 and more. Water leaks flow through shoddy brick work damaging new interiors and falling windows have been regular occurrences. There are very few public friendly green spaces. The few postage stamp sized areas with vegetation are only cosmetic touches that attract scraps of paper, styrofoam cups, cigarette butts and dogs. Tenants are mostly young. Anticipating a future with more upscale digs, they show little interest in creating and maintaining a community. A zeal for fast profits has created true concrete jungles.
In1968, soon after my family arrived in Canada from the United States, I drove towards downtown Toronto via Bloor Street, a major cross town thoroughfare. I soon had to stop mid-block while two men, headed in opposite directions, casually leaned out their driver side windows for a confab. Evidently they were friends. After a brief visit, they waved goodbye and resumed driving. No one behind them had blown their horn or given any sign of aggravation. Those were the days of Toronto the Good. Traffic has now reached New York City densities and on mid-town streets, tempers have altered dramatically. Our streets are now jamed with pedestrian, bicycle, scooter, bus, streecar, delivery van, skate board, truck and automobile traffic. Drivers accelerate as they approach caution lights. Toronto the Good is becoming Toronto the Surly.
Unlike Chicago, no forward looking person with power stepped up to save Lake Ontario’s waterfront for its citizens. Lately there has been talk about civic action, but what’s left to save? A series of towers abutting the Canadian National Railroad lands have masked views of the lake. For most of Toronto’s inhabitants Lake Ontario might well be nonexistant. One can be excused for thinking of money changing hands between developers, mostly foreign, members of the Metropolitan Housing Commission and politicians. A recent Canadian Broadcasting Company documentary quotes realtors and urban planners as predicting many of these new buildings will soon be slums.
So, is everything bad? I think not, though one’s decision will ultimately depend upon one’s thoughts about money. Toronto’s all about money whether or not condos are the latest craze. People who live in the midst of this recent growth as do I, can reasonably expect their property values to increase. One sign of an areas prosperity is the amount of pedestrian traffic and we have plenty of that. If you own a business, you can anticipate increased revenues. When we left the farm 28 years ago there were only two or three decent restaurants in all of Toronto. Today we have fine restaurants scattered about the city and a plethora within easy walking distance of our condo. Just north of us on Queen Street West, there are a couple dozen trendy shops that can fulfill the needs of most up-and-coming millenials. The area is awash with creative producers of consumer goods, enough to have warranted a large article in the New York Times. Most of the accoutrements are there. Clothes, food, furniture and luxury items.
I believe my wife and I struck gold of our own of sorts when we bought our condo. The complex in which we live has a copious outdoor green space tucked in behind its buildings and town houses. That space holds a large swimming pool, a children’s playground, barbecues, picnic tables and a couple dozen lounge chairs for sun bathing. All this is surrounded by trees, flower gardens and shrubs maintained by unit owners. Indoors we have another swimming pool with hot tub, 2 saunas with dressing rooms for men and women, 3 squash courts, one of which I’m told has a special professional floor, a suite of rooms with a hairdresser, a beautician and a licensed physiotherapist. We also have a comprehensive library with a large children’s sectionn, both with seating areas, all maintained by a retired librarian. There is also a large party room, a theater that shows recent and classic movies, a smaller theater for private family viewing, a room for meditation and yoga and a gymnasium with stair masters, stationary bicycles, treadmills, a rowing machine and weights of all sizes configured to meet one’s needs. Few, if any of these amenities exist in new condo buildings. Our units are hundreds of square feet larger than those presently being stacked up in Toronto’s ubiquitous towers and we are only steps from public transit. Our parking is underground and our reserve fund is healthy. Given the thousands of new condominium units built or abuilding, I believe we’re the best kept housing secret in downtown Toronto.
Toronto is a capitalist’s centre of Canada and I am old enough now to mostly enjoy it, no matter how it evolves. However, its seemingly immovable traffic, its gargoyle ugly architecture and brainless urban planning continue to piss me off.
Photo: October 2005. Center, our condominium, townhouse complex on King West at Bathurst Street. Photo taken from the CN Tower shows the auto repair building, the future site for the Thompson Hotel. The trees in the foreground are in a small park and former graveyard where numerous head stones from the war of 1812 have been preserved.
Posted by robinengelman on November 30, 2014 in Articles, Commentaries & Critiques
Tags: Canadian Broadcasting Corporation, CN Tower, Codominiums, Massey Hall, Metropolitan Housing Commission, Queen Street West, Rogers Centre, Sky Dome, Toronto, urban congestion, War of 1812