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: Compositions
SCORES
About Robin’s Compositions
Six compositions by Robin have been recorded by Nexus: Remembrance, Lullaby for Esmé, and four arrangements of Toru Takemitsu songs for mixed chorus: Sakura, Will Tomorow, I Wonder, Be Cloudy or Clear?, A Song of Circles and Triangles and All That the Man Left Behind When He Died.
A marimba solo, She Dances was completed in 2003. Robin is at present working on a solo requested by Toronto percussionist Ray Dillard. Robin completed Music for Soldiers, an arrangement for brass quintet and military field percussion of four historic songs associated with military history, The songs included are, Handel’s See the Conqu’ring Hero Comes, van Hagen’s Funeral Dirge on the Death of General Washington, the anonymous British folk song Pretty Girl Milking the Cow and Daniel Emmett’s Dixie’s Land. The Canadian Brass and Nexus premiered Music for Soldiers in the Glenn Gould Theatre. Songs for Soldiers was featured on the C.B.C. Television show Opening Night broadcast in February 2003.
A recent composition is Dance Movements for Harp and Marimba (2000) written for the Toronto duo ArpaTambora – Sanya Eng and Ryan Scott – who commissioned the work. Dance Movements was written with funds provided by the Laidlaw Foundation of Toronto and premiered at the American Harp Society International Harp Convention in Cincinnati, Ohio by ArpaTambora. ArpaTambora has recorded Dance Movements and the CD is available at their web site.
Left to live on…(1999), a twenty five minute work for percussion and large choir, was commissioned by the Amadeus Choir of Toronto, and written in collaboration with its director Lydia Adams. Left to Live on… was premiered by Nexus and the Amadeus Choir in the George Weston Recital Hall in North York, Toronto. The subject of Left to live on… is the internment of Japanese – Canadians during the 2nd World War and the texts are from Japanese journals, Haiku, and the requiem mass.
NB – the compositions listed above are available from the composer.
A rudimental snare drum solo titled Clean it up… Please! was composed for A Nexus Portfolio of Drum Solos and is available from the publisher, HoneyRock Publishing Co. Clean it up… Please! is in the “Ancient” or open rudimental style.
Military Drumming:
During the 1970’s, Robin became interested in the large rope tensioned field drums in use during the 16th and 19th centuries. He began collecting historic fife tunes and fife and drum tutors associated with armies of that period. He also began to read and collect books on the history of military duties, campaigns and tactics so as to better understand the development of the drum and the lives of drummers prior to the 20th century. He has arranged more than one hundred historical tunes for various instrumental combinations and is preparing a book that will trace in melody and song the history of the Field drum from Renaissance England to the end of the Civil War in the United States.
Robin was the artistic director of a critically acclaimed concert for the November 2002 Percussive Arts Society International Convention in Columbus, Ohio called The Drummer’s Heritage. The concert was a survey of drumming styles and music from the Revolutionary War in the U.S. to the present and featured field drum artists from Scotland, Switzerland, Canada and the United States, along with university, college and elementary school marching units.
Reflections on the Nature of Marimba Music.
Prelude:
After the defeat of China’s army by the British in the first Opium War, (1839-42) Japan, concerned with the possibility of a foreign invasion, adopted Dutch military music for fifes, drums and trumpets to discipline and train their Samurai warriors in western infantry tactics. This was the first western music sanctioned by Japan since the expulsion of foreigners in 1640. In 1875, Japan’s government introduced a nation wide public school music program based on an American model. By 1965, only 90 years after this official embrace of western music, the influence of Japanese composers began to be felt in western avant-garde art music circles [1.].
The Marimba in Japan:
The programme above is from Ryan Scott’s first DMA recital, played in Toronto, Ontario on 22 January, 2014. Ryan’s DMA thesis will probe Japanese art music for marimba. His work on this project has been facilitated in part by New York City resident and former Keiko Abe student Alan Zimmerman. Alan gave Ryan access to his encyclopedic knowledge and massive library of Japanese compositions for marimba, dating from its inception as art music in the 1960s, to the present.
Ryan anounced from the stage that prior to 1965, Japanese marimbists played arrangements of traditional folk songs and western classical music. Marimba virtuoso Keiko Abe (b.1937) convinced prominent Japanese composers to write art music for marimba and manufacturers to upgrade the quality of their instruments.[2.] Between 1965 and1985, more than 500 works of art music were written for marimba by Japanese composers and many of them are still performed today.
I had thought to write a critique of Ryan’s performance, but instead,found myself musing over his announcement regarding Keiko Abe and Japanese composers. I began thinking about the marimba in North America. What follows is almost entirely anecdotal, but during a lengthy telephone conversation, Ruth Cahn, who has been in the middle of most things percussive for many years, confirmed most of my remembrances. Thank you Ruth. Nevertheless, I take responsibility for all errors and the opinions expressed.
The Marimba in America:
Clair Omar Musser, (1901-98) a marimba virtuoso, composer, arranger and conductor, organized concerts for marimba orchestras. One of the first of such groups was a 25 piece, all-girl marimba ensemble for a Paramount Pictures event in Chicago. In 1933, Musser presented a concert with 100 marimbas and in 1950, a concert with 500 players for a Chicago railroad fair. His repertoire consisted mainly of arrangements of popular classics along with compositions of his own. Musser was also an engineer. The marimbas he designed for the J.C. Deagan Company are considered today the finest of their kind ever made. [3.]
The Percussive Arts Society:
Founded in 1961, the Percussive Arts Society (PAS) today has a membership that includes percussionists from almost every university, college and conservatory in North America. Administered primarily by and for university percussionists, the PAS acts as a nexus for students, teachers, composers, performers and manufacturers, providing them access to school programs, pedagogic trends, new instruments and music.
Leigh Howard Stevens:
By 1980, a nascent group of educators and performers began to champion the marimba as a solo instrument and the popularity of marimba playing grew exponentially. Arguably the most influential marimbists was Leigh Howard Stevens (b. 1953). Stevens studied with Vida Chenoweth [4.] and later created an entire system for marimba playing. He devised a new grip, new mallets and a new marimba design, all complimensts to his vision. Stevens also wrote hundreds of etudes, and a vade mecum to disseminate his ideas. His work has influenced marimba composition and performance and has been adopted and adapted by marimba players throughout the world.
Marimbas in the United States:
A marimba provides melodic and harmonic components often lacking in all but a few percussion programmes of the past. In most major music schools, marimba studies have become the backbone of its percussion department. Importantly, this helps validate percussion studies within academia. Post graduate degrees, often unavailable to percussionists prior to the marimba’s ascendency, are today, the norm, even for students who eschew traditional instruments and specialize in solo marimba performance.
Marimba Music in the United States:
Two major concertos for marimba were written before 1960: Paul Creston,1940 and Robert Kurka,1956. From 1969 forward, most concertos were being written by foreign composers. [5.] In 1987, John Serry completed a marimba concerto commissioned by Leigh Howard Stevens and other marimba soloists followed suit with commissions of their own. Unlike Japan however, only a small amount of solo music for marimba has been written by America’s art music composers. One of these, by Jacob Druckman (1928-96), is Reflections on the Nature of Water (1986) a masterwork, now almost thirty years old. Aside from the Druckman work, practically all pedagogic, ensemble and solo recital music has been and is being written by percussionists. A recent national marimba competition provided applicants a repertoire containing 15 compositionds, 13 of them written by percussion teachers.
Their music has failed to make an impact on audiences outside percussion circles. It is commonly based on classical forms and structures and is heavily influenced by basic marimba technique or the latest fad. Their music also demonstrates the American percussionist’s preference for loud, fast, continuous and repetitious music. [6.] For example, soon after the appearance of Steve Reich’s Music for Pieces of Wood, in 1973, percussion students and teachers began writing pattern music and continue doing so. In the words of a professional musician and friend, “Most composers are arrangers”.
Conclusions:
Note: The works on Scott’s program above by Yoshio Hachimura, particularly Ahania II, and Tokuhide Niimi, differed in substantive ways from many American compositions for marimba. They were mesmerizing, rhythmically and harmonically ambiguous and occasionally weightless. Remarkable too were their sudden, surprising silences and absence of expectation. [7.] The latter, best described by John Cage who said of his close friend, “I love Takemitsu’s music because it doesn’t lead me anywhere”.1
I was impressed by Ryan’s lack of histrionics, all too common among players today, and the concentration of his mature artistry which allowed the music’s unique qualities to appear without his intervention. Michio Kiazume’s Side by Side is a congenial and equally virtuosic substitute for Xenakis’ Rebonds and was played with clarity and panache. I was delighted.
Ryan is commissioning a select group of composers. One being a marimba concerto by Erik Ross (2007). On the program above, the work by Oesterle for marimba and koto is a welcomed addition to the repertoire.
Ryan Scott has two more recitals and as rumour has it, he plans to present both by May of this year. I look forward to hearing another half dozen works from Japan, all new to me and I thank Ryan for instigating these ruminations.(Ryan’s last two recitals will now be played in the Fall of 2014.)
Foot Notes:
[1.] See Burt, Peter: The Music of Toru Takemitsu, Cambridge University Press, 2001.
[2.] Many percussionists including myself, were familiar with the works of Keiko Abe before her first visit to North America in November,1977. Though impossible to quantify, her presence inspired many students to play modern music and encouraged marimba soloists to write their own original compositions.
A detailed comparison of the grips, mallets and styles of Abe and Stevens and their effects on marimba performance would make interesting reading and a beneficial companion to Scott’s thesis.
[3.] If one wishes to hear a large marimba orchestra playing typical Musser repertoire, one can purtchase the CD The Marimba Festival Orchestra conducted by Frederick Fennell and recorded in the Eisenhower Theater of the United States Military Academy in West Point, New York. The orchestra was assembled by Lee Howard Stevens and featured soloists Gordon Stout and Bob Becker. Resonator Records by Marimba Productions, Inc. 1999.
[4.] The importance of Vida Chenoweth and her teacher, Clair Omar Musser, are worthy of attention.
Vida Chenoweth ( b.1929), one of Musser’s students at Northwestern, played her first solo recital in Chicago in 1956. She performed concerts world wide until an accident prevented her from playing at her former level. She is a member of the Percussive Arts Society Hall of Fame.
[5.] See: Conklin, M. Christine: An Annotated Catalog of Marimba Concertos Published in the United States Between 1940 – 2000. Marimba Concertos listed, chrinologically, alphabetically by composer, with orchestration, marimba size, date of composition, an interview and reviews, DMA thesis, University of Oklahoma, Norman, 2004. UM number 3134393.
[6.] I sent trombonist/composer Vinko Globokar an ensemble improvisation recording. His reply, paraphrased, was, ” This is typical of American music. Continuous, repititious. For the trio improvisations, our percussionist brings only two or three small instruments. Our idea is to never repeat. Always search for new ways to make sound”.
[7.] See Takemitsu, Toru: Confronting Silence, Fallen Leaf Press, Berkeley, California, 1995. Pgs. 51-57 contain Takemitsu’s thoughts on his use of silence and the concept of Ma.
Posted by robinengelman on February 23, 2014 in Articles, Commentaries & Critiques, Composers, Compositions, Contemporary Music, History
Tags: aesthetics, Alan Zimmerman, Bob Becker, Erik Ross, Frederick Fennell, Gordon Stout, Japanese Marimba Music, Keiko Abe, Leigh Howard Stevens, Maeimba Music, Marimba Concerti, Michael Oesterle, Ruth Cahn, Ryan Scott, Tokuhide Niimi, Vida Chenoweth, Winko Globokar, Yoshio Hachimura