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eadmus.mu011013.2.xml
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eadmus.mu011013.2.xml
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<?xml version="1.0" encoding="UTF-8"?>
<!-- ========== Enhanced: ==========
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Generated: Mon, 17 June 2013 02:04:15 PM EDT
URL: http://hdl.loc.gov/loc.music/eadmus.mu011013
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<ead xmlns="urn:isbn:1-931666-22-9"
xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
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<eadid mainagencycode="US-DLC" countrycode="US"
identifier="hdl:loc.music/eadmus.mu011013"
encodinganalog="856$u">
http://hdl.loc.gov/loc.music/eadmus.mu011013</eadid>
<filedesc>
<titlestmt>
<titleproper encodinganalog="245$a">Artur Schnabel Collection
</titleproper>
<author encodinganalog="245$c">Processed by the Music Division of the Library of Congress</author>
</titlestmt>
<publicationstmt>
<publisher encodinganalog="260$b">
<extptr xmlns:xlink="http://www.w3.org/1999/xlink" xlink:type="simple" xlink:show="embed"
xlink:actuate="onLoad"
xlink:href="http://lcweb2.loc.gov/xmlcommon/lcseal.jpg"/> Music Division, Library of Congress</publisher>
<address>
<addressline>Washington, D.C. </addressline>
</address>
<date normal="2006" encodinganalog="260$c">2006</date>
</publicationstmt>
<seriesstmt>
<titleproper>Guides to Special Collections in the Music Division of the Library of Congress</titleproper>
</seriesstmt>
<notestmt>
<note>
<p>Contact information: <extref xmlns:xlink="http://www.w3.org/1999/xlink" xlink:type="simple" xlink:show="new"
xlink:actuate="onRequest"
xlink:href="http://hdl.loc.gov/loc.music/perform.contact">
http://hdl.loc.gov/loc.music/perform.contact</extref>
</p>
</note>
<note id="lccnNote">
<p> Catalog Record: <extref xmlns:xlink="http://www.w3.org/1999/xlink"
xlink:href="http://lccn.loc.gov/2011570507"
xlink:actuate="onRequest"
xlink:title="MARC record for collection"
xlink:type="simple">http://lccn.loc.gov/2011570507</extref>
</p>
</note>
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<profiledesc>
<creation>Finding aid encoded by Library of Congress Music Division,
<date normal="2011">2011</date>
</creation>
<langusage>Finding aid written in <language langcode="eng" encodinganalog="041">English.</language>
</langusage>
</profiledesc>
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<archdesc level="collection" relatedencoding="MARC21" type="register">
<did id="mferd171e48">
<head>Collection Summary</head>
<unittitle label="Title" encodinganalog="245$a">Artur Schnabel Collection <unitdate label="Span Dates" type="inclusive" normal="1899/1950" encodinganalog="245$f"
datechar="creation">1899-1950</unitdate>
</unittitle>
<unitid label="Call No." encodinganalog="050" countrycode="US" repositorycode="US-DLC">ML31.S36</unitid>
<origination label="Creator">
<persname encodinganalog="100" source="lcnaf">Schnabel, Artur, 1882-1951</persname>
</origination>
<physdesc label="Extent">
<extent encodinganalog="300">146 items </extent>
<extent encodinganalog="300">4 containers</extent>
<extent encodinganalog="300">3.0 linear feet</extent>
</physdesc>
<langmaterial label="Language" encodinganalog="546">Collection material in <language encodinganalog="041" langcode="ger">German, </language>
<language encodinganalog="041" langcode="eng">English, </language>and <language encodinganalog="041" langcode="fre">French</language>
</langmaterial>
<repository label="Location" encodinganalog="852">
<corpname>
<subarea>Music Division</subarea> Library of
Congress</corpname>
<address>
<addressline>Washington, D.C.</addressline>
</address>
</repository>
<abstract label="Summary" encodinganalog="520$a">Artur Schnabel was an Austrian-born American pianist, pedagogue, and composer. The collection chiefly consists of music manuscript scores of Schnabel’s compositions. The manuscripts are all, with the exception of a single copyist’s score, in Schnabel’s hand, and represent his compositional essays in a variety of genres, from solo song (voice and piano) to symphonic works. The collection also contains an early published edition of Ludwig van Beethoven’s sonatas for solo piano, containing copious annotations in Schnabel’s hand, and on which he apparently based his 1935 edition of these works.</abstract>
</did>
<!--ead:controlaccess template--><!--ead:controlaccess template: otherwise--><controlaccess id="ead.controlaccess_m.2011570507.10001"
altrender=":::F005=^20110902022200.0^">
<head>Selected Search Terms</head>
<note>
<p>The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein.</p>
</note>
<controlaccess id="mferd171e101">
<head>People</head>
<persname encodinganalog="600" role="subject" source="lcnaf"
altrender=":::PWEBRECON=^Beethoven%2C+Ludwig+van%2C+1770-1827.+Sonatas.^">Beethoven, Ludwig van, 1770-1827. Sonatas.</persname>
<persname encodinganalog="600" role="subject" source="lcnaf"
altrender=":::PWEBRECON=^Schnabel%2C+Artur%2C+1882-1951+Manuscripts.^">Schnabel, Artur, 1882-1951--Manuscripts.</persname>
<persname encodinganalog="100" role="creator" source="lcnaf"
altrender=":::PWEBRECON=^Schnabel%2C+Artur%2C+1882-1951.^">Schnabel, Artur, 1882-1951.</persname>
<persname encodinganalog="600" role="subject" source="lcnaf"
altrender=":::PWEBRECON=^Schnabel%2C+Artur%2C+1882-1951.^">Schnabel, Artur, 1882-1951.</persname>
<persname encodinganalog="700" source="lcnaf"
altrender=":::PWEBRECON=^Schnabel%2C+Artur%2C+1882-1951.^">Schnabel, Artur, 1882-1951. Selections.</persname>
</controlaccess>
<controlaccess id="mferd171e114">
<head>Subjects</head>
<subject encodinganalog="650" source="lcsh"
altrender=":::PWEBRECON=^Music+Manuscripts+20th+century.^">Music--Manuscripts--20th century.</subject>
<subject encodinganalog="650" source="lcsh"
altrender=":::PWEBRECON=^Piano+music+Interpretation+%28Phrasing%2C+dynamics%2C+etc.%29^">Piano music--Interpretation (Phrasing, dynamics, etc.)</subject>
<subject encodinganalog="650" source="lcsh"
altrender=":::PWEBRECON=^Sonatas+%28Piano%29+Analysis%2C+appreciation.^">Sonatas (Piano)--Analysis, appreciation.</subject>
</controlaccess>
</controlaccess>
<descgrp type="admininfo" id="mferd171e123">
<head>Administrative Information</head>
<acqinfo encodinganalog="541" id="mferd171e126">
<head>Provenance</head>
<p>Gift; Karl Ulrich Schnabel (Artur Schnabel's son); 1981.</p>
</acqinfo>
<accruals encodinganalog="584" id="mferd171e131">
<head>Accruals</head>
<p>No further accruals are expected.</p>
</accruals>
<processinfo encodinganalog="583" id="mferd171e136">
<head>Processing History</head>
<p>The Artur Schnabel Collection was processed by Kevin LaVine in 2006. The finding aid was coded for EAD format by Nancy Seeger in 2011.</p>
</processinfo>
<relatedmaterial encodinganalog="544 1" id="mferd171e141">
<head>Related Material</head>
<p>The Library of Congress Music Division also holds the<archref xmlns:xlink="http://www.w3.org/1999/xlink" xlink:type="simple" xlink:show="new"
xlink:actuate="onRequest"
xlink:href="http://hdl.loc.gov/loc.music/eadmus.mu011014"> Mary Virginia Foreman Le Garrec Collection of Artur Schnabel Materials</archref>, donated to the Library in 1997 by Le Garrec, a student and confidante of Schnabel's. This collection includes published musical scores by Schnabel and by other composers, some of which contain annotations and performance indications in the hands of Schnabel, Le Garrec, and others. In addition, the collection contains Schnabel's correspondence with musical figures such as Clifford Curzon, Rudolf Firkušný and Le Garrec; and Le Garrec’s correspondence with, among others, Pierre Fournier, René Liebowitz, Leopold Mannes, and Dmitri Mitropoulos. The collection also includes writings by both Schnabel and Le Garrec; concert programs featuring Schnabel as both pianist and composer; biographical material; press clippings, published articles, and monographs regarding Schnabel and his circle; books; and photographs and other iconography.</p>
</relatedmaterial>
<userestrict encodinganalog="540" id="mferd171e149">
<head>Copyright Status</head>
<p>Materials from the Artur Schnabel Collection are governed by the Copyright Law of the United States (Title 17, U.S.C.) and other applicable international copyright laws.</p>
</userestrict>
<accessrestrict encodinganalog="506 0" id="mferd171e154">
<head>Access and Restrictions</head>
<p>The Artur Schnabel Collection is open to research. Researchers are advised to contact the Music Division prior to visiting in order to determine whether the desired materials will be available at that time.</p>
<p>Certain restrictions to use or copying of materials may apply.</p>
</accessrestrict>
<prefercite encodinganalog="524" id="mferd171e161">
<head>Preferred Citation</head>
<p>Researchers wishing to cite this collection should include the following information: [item, date, container number], Artur Schnabel Collection, Music Division, Library of Congress, Washington, D.C. </p>
</prefercite>
</descgrp>
<bioghist encodinganalog="545" id="mferd171e166">
<head>Biographical Note</head>
<p>Artur Schnabel was one of the greatest pianists and pedagogues in the history of musical performance. As a performer, Schnabel eschewed virtuosity in favor of musicianship – indeed, he considered himself a musician foremost, and the piano simply his creative medium – and his sound recordings consistently demonstrate interpretations of sensitivity, commitment, and distinction. He was one of the first pianists to champion new and unfamiliar repertoire (such as the piano sonatas of Franz Schubert), and the first pianist to record the complete sonatas and concerti of Ludwig van Beethoven. As a pedagogue, Schnabel is probably best known for his meticulously annotated performing edition of Beethoven’s piano sonatas, through which countless pianists were introduced to these foundations of the piano repertoire; this edition is in common use even today. Lesser known are Schnabel’s original musical compositions – his uncompromising atonal musical language continues to pose formidable challenges to performers, conductors and listeners – and his contribution to musical scholarship through his autobiography (<title>My Life and Music</title>, 1961), his two books on the role of music in the twentieth century (<title>Reflections on Music</title>, 1934 and <title>Music and the Line of Most Resistance</title>, 1942), and through the several articles he contributed to musical journals throughout his life.</p>
<chronlist>
<listhead>
<head01>Date</head01>
<head02>Event</head02>
</listhead>
<chronitem>
<date era="ce" calendar="gregorian">1882, April 17</date>
<event>Born, Lipnik, Carpathia, Austria</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1888</date>
<event>Began piano studies with Hans Schmitt</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1889 or 1890</date>
<event>Gave first public concert in Vienna</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1891</date>
<event>Began piano studies with Leschetitzky in Vienna</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1896</date>
<event>Won prizes for three of his works for solo piano in composition competition organized by Leschetitzky</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1897</date>
<event>Graduated from Leschetitzky’s class; received first prize</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1898</date>
<eventgrp>
<event>Moved to Berlin to begin his professional career</event>
<event>Met contralto Therese Behr (b. 1876), a “lieder singer of repute”</event>
</eventgrp>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1905</date>
<event>Married Therese Behr (died 1959), they give intermittent concerts together for the next twenty-five years, performing together primarily throughout Germany and Scandinavia</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1921</date>
<event>Made first recital tour of United States</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1922</date>
<event>Made second recital tour of United States</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1925-1933</date>
<event>Professor, piano, Berlin Hochschule für Musik</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">circa 1925-circa 1933</date>
<event>Performed in recital series with violinist Carl Flesch</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1927</date>
<event>Performed Beethoven’s thirty-two piano sonatas in one season in Berlin, in celebration of the centenary of the composer’s birth</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1932-1935</date>
<event>Recorded Beethoven's thirty-two piano sonatas and five piano concerti for the British firm HMV</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1933</date>
<event>Left Germany and settled in Lake Como, Italy, where he lived for the remainder of his life</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1934</date>
<event>Published <title>Reflections on Music</title>. New York: Simon and Schuster</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1935</date>
<event>Published his edition of complete piano sonatas of Ludwig van Beethoven, in two volumes (over 800 pages). New York: Simon and Schuster </event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1936</date>
<event>Performed thirty-two sonatas of Beethoven on “7 Wednesday nights in Carnegie Hall”</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1940-1945</date>
<event>Professor, University of Michigan</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1942</date>
<event>Published <title>Music and the Line of Most Resistance</title>. Princeton, N.J.: Princeton University Press (his thoughts on music and musical esthetics)</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1944</date>
<event>Became a naturalized American citizen
</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1945</date>
<event>Returned to home in Lake Como, Italy</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1946, Dec. 13</date>
<eventgrp>
<event>Première performance of <title>Symphony no. 1</title>, by Minneapolis Symphony Orchestra, conducted by Dimitri Mitropoulos (this difficult and atonal work would be the only one of Schnabel's four symphonies to be performed during his lifetime)</event>
<event>Schnabel appeared as soloist in Beethoven’s <title>Concerto no. 4</title> in the same concert</event>
</eventgrp>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1948, Dec. 11</date>
<event>Suffered near-fatal heart attack that left him bedridden for nearly four months</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1951, Jan. 20</date>
<event>Last performance, at Hunter College, New York (of the occasion he wrote, “For the first time I succeeded today in playing the last line of Beethoven’s opus 90 [Sonata] so that I found it convincing”)</event>
</chronitem>
<chronitem>
<date era="ce" calendar="gregorian">1951, Aug. 15</date>
<event>Died, Grand Hotel in Axenstein, Switzerland
</event>
</chronitem>
</chronlist>
</bioghist>
<scopecontent encodinganalog="520" id="mferd171e336">
<head>Scope and Content Note</head>
<p>The Artur Schnabel Collection primarily consists of music manuscript scores of Schnabel’s compositions. These thirty-seven manuscripts are all, with the exception of a single score in a copyist’s hand (for the song "Dieses ist ein rechter Morgen," op. 11, no. 5), in Schnabel’s hand, and represent his compositional essays in a variety of genres, from solo song (voice and piano) to symphonic works. In addition, the collection contains holograph manuscript scores of each of Schnabel’s three symphonies.</p>
<p>The collection also includes an early published edition (Leipzig: Breitkopf und Härtel; undated) of Ludwig van Beethoven’s sonatas for solo piano, containing copious annotations in Schnabel’s hand, and on which he apparently based his renowned 1935 edition of these works. Over one hundred additional pages of notes relating to these works are also held in this collection.</p>
<p>Kevin LaVine, May 2006</p>
</scopecontent>
<arrangement encodinganalog="351$a" id="mferd171e345">
<head>Organization of the Artur Schnabel Collection</head>
<p>The Artur Schnabel Collection is organized in two series:</p>
<list>
<item>
<ref xmlns:xlink="http://www.w3.org/1999/xlink" xlink:type="simple"
xlink:show="replace"
xlink:actuate="onRequest"
target="mms">Manuscript Music Scores, 1899-1950</ref>
</item>
<item>
<ref xmlns:xlink="http://www.w3.org/1999/xlink" xlink:type="simple"
xlink:show="replace"
xlink:actuate="onRequest"
target="anma">Annotated Material</ref>
</item>
</list>
</arrangement>
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<extref xmlns:xlink="http://www.w3.org/1999/xlink"
xlink:href="http://lccn/loc.gov/2011570507"
xlink:actuate="onRequest"
xlink:title="MARC record for collection"
xlink:type="simple">http://lccn.loc.gov/2011570507</extref>
</otherfindaid>
<!--$otherfindiaidTestCheck: yes--><dsc id="mferd171e364" type="combined">
<head>Container List</head>
<thead valign="bottom">
<row>
<entry morerows="0">Container</entry>
<entry morerows="0">Contents</entry>
</row>
</thead>
<c01 level="series" id="mferd171e373">
<did>
<container type="box">1-4</container>
<unittitle encodinganalog="245$a" id="mms">Manuscript Music Scores, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1899-1950</unitdate>
</unittitle>
</did>
<arrangement encodinganalog="351$b">
<p>Arranged alphabetically by title.</p>
</arrangement>
<c02 level="file" id="mferd171e384">
<did>
<container type="box-folder">1/1</container>
<unittitle encodinganalog="245$a">One copy of the inventory/finding aid of the contents of this collection
<unitdate encodinganalog="245$f" era="ce" calendar="Gregorian"/>
</unittitle>
<physdesc>
<extent encodinganalog="300$a"/>
</physdesc>
<note encodinganalog="500$a">
<p/>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e395">
<did>
<container type="box-folder">1/2</container>
<unittitle encodinganalog="245$a">Abendlandschaft, for voice and piano (Joseph von Eichendorff), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1902</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink; 1 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>At end: 1902.</p>
</note>
<note encodinganalog="500$a">
<p>German lyrics.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e412">
<did>
<container type="box-folder">1/3</container>
<unittitle encodinganalog="245$a">Concerto [Intermezzo. Rondo], for piano and chamber orchestra, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1901</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a"> Holograph manuscript full score, in ink with pencil indications; 33 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated between “3.IX.1901” (end of movement II) and “5.VII.01” (end of movement I).</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e426">
<did>
<container type="box-folder">1/4</container>
<unittitle encodinganalog="245$a">Dann, op. 11, no. 2, for voice and piano (Richard Dehmel), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">undated</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink with pencil annotations; 2 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>German lyrics.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e440">
<did>
<container type="box-folder">1/5</container>
<unittitle encodinganalog="245$a">Diabolique. Capriccio, for piano solo, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1949</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink with pencil annotations; 5 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Cover page also carries the title “Danse macabre,” as well as the inscription “Jugendschven. Jugendirreu.”</p>
</note>
<note encodinganalog="500$a">
<p>Dated “April 1949” at end.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e457">
<did>
<container type="box-folder">1/6</container>
<unittitle encodinganalog="245$a">Dieses ist ein rechter Morgen, op. 11, no. 5, for voice and piano (Stefan George), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">undated</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Copyist’s manuscript, in ink; 3 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>German lyrics.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e471">
<did>
<container type="box-folder">1/7</container>
<unittitle encodinganalog="245$a">Duodecimet [Introduzione. Scherzo. Epilogue], for chamber ensemble (indications for violin I, violin II, viola, double bass, piccolo, clarinet, bass clarinet, trumpet, horn, percussion), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1950</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript sketches in short score, in pencil; 18 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “July 29, 1950” (end of movement II) and “August 9, 1950” (end of movement III).</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e485">
<did>
<container type="box-folder">1/8</container>
<unittitle encodinganalog="245$a">Douce tristesse, for piano solo, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">undated</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink; 4 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Accompanying note dates this work to 1899.</p>
</note>
<note encodinganalog="500$a">
<p>Cover page carries the indication “Ein Clavierstück in es-moll,” and as an epigraph, a five-line verse of Dehmel.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e502">
<did>
<container type="box-folder">1/9</container>
<unittitle encodinganalog="245$a">Frühlingsgruss, for voice and piano (Joseph von Eichendorff), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1902</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink; 2 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>German lyrics.</p>
</note>
<note encodinganalog="500$a">
<p>Dated “18. August 1902” at end.</p>
</note>
<note encodinganalog="500$a">
<p>Version in E major.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e523">
<did>
<container type="box-folder">1/10</container>
<unittitle encodinganalog="245$a">Frühlingsgruss, for voice and piano (Joseph von Eichendorff), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">undated</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink; 2 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>German lyrics. </p>
</note>
<note encodinganalog="500$a">
<p>Version in D major.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e540">
<did>
<container type="box-folder">1/11</container>
<unittitle encodinganalog="245$a">Heisst es viel dich bitten?, for voice and piano (Stefan George), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1903</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in pencil; 2 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p> German lyrics.</p>
</note>
<note encodinganalog="500$a">
<p>Dated “16.IX.03” at end.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e557">
<did>
<container type="box-folder">1/12</container>
<unittitle encodinganalog="245$a">Hyazinthen, op. 14, no. 5, for voice and piano (Theodor Storm), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">undated</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink with pencil annotations; 3 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>German lyrics. </p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e571">
<did>
<container type="box-folder">1/13</container>
<unittitle encodinganalog="245$a">Klavierstück 1937, for piano solo, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1936-1937</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in pencil; 31 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated between “2.Sept.1936” and “17.VIII.1937.”</p>
</note>
<note encodinganalog="500$a">
<p>Also known as “Piece in Seven Movements,” according to accompanying note.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e588">
<did>
<container type="box-folder">1/14</container>
<unittitle encodinganalog="245$a">3 Klavierstücke [Rhapsodie. Nachtbild. Walzer], for piano solo, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1906</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink with pencil indications; 16 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “6.X.1906” (end of movement I), “14.September 1906” (end of movement II) and “22.IX.1906” (end of movement III). </p>
</note>
<note encodinganalog="500$a">
<p>Indicated on cover page: “Printed by Verlag Dreililien Berlin.”</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e605">
<did>
<container type="box-folder">1/15</container>
<unittitle encodinganalog="245$a">Manche Nacht, op. 11, no. 6, for voice and piano (Richard Dehmel), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1901</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink with pencil annotations; 2 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>German lyrics.</p>
</note>
<note encodinganalog="500$a">
<p>Dated “24/XII.1901” at end.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e622">
<did>
<container type="box-folder">1/16</container>
<unittitle encodinganalog="245$a">Marienlied, op. 11, no. 4, for voice and piano (Novalis), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">undated</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink with pencil annotations; 2 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>German lyrics.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e636">
<did>
<container type="box-folder">1/17</container>
<unittitle encodinganalog="245$a">Quartet no. 3, for strings, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1922</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in pencil; 32 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “25.August 1922” at end.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e650">
<did>
<container type="box-folder">1/18</container>
<unittitle encodinganalog="245$a">Quartet no. 4, for strings, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1930</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in pencil; 37 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “26.VII 1930” (end of movement II) and “14 Nov. 1930” (end of movement III).</p>
</note>
<note encodinganalog="500$a">
<p>Cover page indicates that “Partitur und Stimmen” are included, although no parts are present.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e667">
<did>
<container type="box-folder">1/19</container>
<unittitle encodinganalog="245$a">Quartet no. 5, for strings, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1940</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript (spiral wire bound), in pencil with red ink indications; 37 p. (plus one unbound page of sketches, at end)</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “July 27. 1940” (end of movement I), “August 3, 1940” (end of movement II), “August 15. 1940” (end of movement III) and “Bear Lake, Colorado, August 27, 1940” (end of movement IV).</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e681">
<did>
<container type="box-folder">1/20</container>
<unittitle encodinganalog="245$a">Sieh, mein Kind, ich gehe, op. 11, no. 7, for voice and piano (Stefan George), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">undated</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink with pencil indications; 2 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>German lyrics. </p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e696">
<did>
<container type="box-folder">1/21</container>
<unittitle encodinganalog="245$a">Sonata, for violin and piano, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1935</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in pencil; 40 (13, 6, 5, 16) p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated between “17.VI.35” (beginning of movement I) and “18 September 1935” (end of movement IV).</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e710">
<did>
<container type="box-folder">2/1</container>
<unittitle encodinganalog="245$a">Sonata, for violoncello solo, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1931</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in pencil; 13 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “29 Mai 1931” at end.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e724">
<did>
<container type="box-folder">2/2</container>
<unittitle encodinganalog="245$a">Symphony no. 1, for orchestra: movements I and II, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1939</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript full score, in pencil with indications in red and black inks and red pencil; ii, 46, 22 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “2.IX.1939” (at end of movement I) and “25.IX.1939 New-York” (at end of movement II). </p>
</note>
<note encodinganalog="500$a">
<p>The two pages between numbered pages 1 and 2 have been fastened with adhesive.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e741">
<did>
<container type="box-folder">4/1</container>
<unittitle encodinganalog="245$a">Symphony no. 1, for orchestra: movements III and IV, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1939</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript full score, in pencil with indications in red ink; ii, 13, 41 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “October 19, 1939” (at end of movement III) and “November 24, 1939” (at end of movement IV).</p>
</note>
<note encodinganalog="500$a">
<p>Cover page of included folder reads “1st Symphony / 1st manuscript / Full Score manuscript.”</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e758">
<did>
<container type="box-folder">2/3</container>
<unittitle encodinganalog="245$a">Symphony no. 1, for orchestra, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1942</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript in short score, in pencil; 47 (16, 8, 6, 17) p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “22.VII.1942” at end.</p>
</note>
<note encodinganalog="500$a">
<p>Original blue cardboard folder in which the score was held (“First Symphony. / (before orchestration))” is held in Box 4, Folder 2.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e775">
<did>
<container type="box-folder">4/2</container>
<unittitle encodinganalog="245$a">Symphony no. 1, for orchestra
<unitdate encodinganalog="245$f" era="ce" calendar="Gregorian"/>
</unittitle>
<physdesc>
<extent encodinganalog="300$a"/>
</physdesc>
<note encodinganalog="500$a">
<p> Two original folders in which the holograph full score (labeled “First Symphony. / (before orchestration),” Box 4, Folder 1: blue cardboard folder) and the holograph short score (Box 2, Folder 3: thick paper folder) of this work were held.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e787">
<did>
<container type="box-folder">2/4</container>
<unittitle encodinganalog="245$a">Symphony no. 2, for orchestra: movement I, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1943</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript full score, in pencil; 47 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “April 5th 1943” at end.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e801">
<did>
<container type="box-folder">2/5</container>
<unittitle encodinganalog="245$a">Symphony no. 2, for orchestra: movement II, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1943</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript full score, in pencil; 1, 28, 1 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “August 17. 1943, Gascon” at end.</p>
</note>
<note encodinganalog="500$a">
<p>Includes one sheet of manuscript paper at end, blank except for the page number indication “6” at top right corner of page.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e818">
<did>
<container type="box-folder">2/6</container>
<unittitle encodinganalog="245$a">Symphony no. 2, for orchestra: movements III and IV, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">undated</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript full score, in pencil; 59 (2,19, 38) p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p/>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e831">
<did>
<container type="box-folder">2/7</container>
<unittitle encodinganalog="245$a">Symphony no. 2, for orchestra, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1942</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript in short score, in pencil; 44 (12, 9, 6, 17) p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “Gascon Ranch / August 31. 1942” at end.</p>
</note>
<note encodinganalog="500$a">
<p>Original large envelope in which the score was held (“Independent Music Publishers / New York City”) is included.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e848">
<did>
<container type="box-folder">3/1</container>
<unittitle encodinganalog="245$a">Symphony no. 3, for orchestra: movement I (“Fantasia”), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1949</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript full score, in pencil with indications in red and blue pencil; 44 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “Los Gatos, June 25th 1949 / [Los Gatos] Sept. 11, 1949” at end.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e863">
<did>
<container type="box-folder">3/2</container>
<unittitle encodinganalog="245$a">Symphony no. 3, for orchestra: movement II (“Dance”), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1949</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript full score, in pencil with indications in red and blue pencil; 28 p. (numbered 45 through 72)</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “Los Gatos / July 25th 1949” at end.</p>
</note>
<note encodinganalog="500$a">
<p>Sketches appear on verso of page 72.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e880">
<did>
<container type="box-folder">3/3</container>
<unittitle encodinganalog="245$a">Symphony no. 3, for orchestra: movement III, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1949</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript full score, in pencil with indications in red and blue pencil; ii, 39 p. (numbered 73 through 112)</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “Los Gatos, August 28th 1949” at end.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e894">
<did>
<container type="box-folder">3/4</container>
<unittitle encodinganalog="245$a">Symphony no. 3, for orchestra, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1948</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript in short score, in pencil with red and black inks; 8, 4, 8 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dates: “2.Juli 1948, Sils Maria” (at beginning of score); “13.Juli 1948” (at end of movement I); “Sils Maria / 14.Juli 1948” (at beginning of movement II); “July 22 / Sils Maria” (at end of movement II); “July 23rd” (at beginning of movement III); “August 1st 1948, Sils Maria” (at end of movement III). </p>
</note>
<note encodinganalog="500$a">
<p>Sketches appear on unnumbered pages on the verso sides of pages 1 and 4 (movement II) and page 7 (movement III).</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e911">
<did>
<container type="box-folder">3/5</container>
<unittitle encodinganalog="245$a">Tanzlied, op. 11, no. 10, for voice and piano (Otto Julius Bierbaum), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1901</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink with pencil indications; 3 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>German lyrics.</p>
</note>
<note encodinganalog="500$a">
<p>Dated “1/VII.1901” at end.</p>
</note>
<note encodinganalog="500$a">
<p>Includes a paste-over of the last system on the second page.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e931">
<did>
<container type="box-folder">4/3</container>
<unittitle encodinganalog="245$a">Tanzsuite [Erste Rast (Werbung). Walzer (Fühlung). Zeeite Rast (Schwebung). Auf Morgen (Bekräftizung)], for piano solo, <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1921</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in pencil (incomplete: movement I missing); 37 (5, 20, 3, 9) p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>Dated “Charlottenburg 16.I.21” at end.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e945">
<did>
<container type="box-folder">3/6</container>
<unittitle encodinganalog="245$a">Das Veilchen an den spanischen Flieder, op. 11, no. 9, for voice and piano (Harms Sachs), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1899</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink with pencil indications; 2 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>German lyrics.</p>
</note>
<note encodinganalog="500$a">
<p>Dated “1899” at end.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e962">
<did>
<container type="box-folder">3/7</container>
<unittitle encodinganalog="245$a">Waldnacht, op. 11, no. 8, for voice and piano (Richard Dehmel), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">1901</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink; 2 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>German lyrics.</p>
</note>
<note encodinganalog="500$a">
<p>Dated “11.X.1901” at end.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e979">
<did>
<container type="box-folder">3/8</container>
<unittitle encodinganalog="245$a">Waldnacht, op. 11, no. 8, for voice and piano (Richard Dehmel), <unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">undated</unitdate>
</unittitle>
<physdesc>
<extent encodinganalog="300$a">Holograph manuscript, in ink with pencil indications; 2 p.</extent>
</physdesc>
<note encodinganalog="500$a">
<p>German lyrics.</p>
</note>
</did>
</c02>
</c01>
<c01 level="series" id="mferd171e993">
<did>
<container type="box">3</container>
<unittitle encodinganalog="245$a" id="anma">Annotated Material</unittitle>
</did>
<c02 level="file" id="mferd171e999">
<did>
<container type="box-folder">3/9</container>
<unittitle encodinganalog="245$a">Beethoven, Ludwig van. <title>Sonatas, for piano solo</title>. <imprint>Leipzig: Breitkopf & Härtel, </imprint>
<unitdate encodinganalog="245$f" era="ce" calendar="Gregorian">n.d.</unitdate>
</unittitle>
<note encodinganalog="500$a">
<p>Unbound printed edition containing extensive performance indications regarding technique (i.e. fingerings, metronome markings) and expression, as well as additional manuscript and text indication in margins throughout, in Schnabel’s hand; in pencil, blue pencil and red ink. Evidently used by Schnabel in the preparation of his edition of Beethoven’s solo piano sonatas.</p>
</note>
<note encodinganalog="500$a">
<p>Contains the following works: Sonata no. 13, op. 27, no. 1 [plate no. A.A.99.] (numbered pages 1-14); Sonata no. 14, op. 27, no. 2 [plate no. A.A.100.] (numbered pages 15-26; one measure of holograph manuscript attached to page 19); Sonata no. 15, op. 28 [plate no. A.A.101.] (numbered pages 27-44); Sonata no. 17, op. 31, no. 2 [plate no. A.A.103.] (numbered pages 69-88); Sonata no. 18, op. 31, no. 3 [plate no. A.A.104.] (numbered pages 89-108); Sonata no. 19, op. 49, no. 1 [plate no. A.A.105.] (numbered pages 109-116); Sonata no. 20, op. 49, no. 2 [plate no. A.A.106.] (numbered pages 117-124).</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e1018">
<did>
<container type="box-folder">3/10</container>
<unittitle encodinganalog="245$a">Performance notes related to Schnabel’s Beethoven Sonata edition (above, laid in Box 3/Folder 4), and laid in with the above
<unitdate encodinganalog="245$f" era="ce" calendar="Gregorian"/>
</unittitle>
<physdesc>
<extent encodinganalog="300$a"/>
</physdesc>
<note encodinganalog="500$a">
<p>104 pages of performance notes in Schnabel’s hand, in pencil and red ink; all are written on sheets of manuscript paper of various sizes, and contain text as well as musical examples.</p>
</note>
</did>
</c02>
<c02 level="file" id="mferd171e1030">
<did>
<container type="box-folder">3/11</container>
<unittitle encodinganalog="245$a">Original cardboard folder in which the above material (Box 3/Folders 5 and 6) was contained
<unitdate encodinganalog="245$f" era="ce" calendar="Gregorian"/>
</unittitle>
<physdesc>
<extent encodinganalog="300$a"/>
</physdesc>
<note encodinganalog="500$a">
<p>Labeled “Beethoven Sonata / Edition / Manuscript.”</p>
</note>
</did>
</c02>
</c01>
</dsc>
</archdesc>
</ead>