Leopold Stokowski collection of orchestral transcriptions

Held at: University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts [Contact Us]3420 Walnut Street, Philadelphia, PA 19104-6206

This is a finding aid. It is a description of archival material held at the University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts. Unless otherwise noted, the materials described below are physically available in their reading room, and not digitally available through the web.

Call Number:: Ms. Coll. 351
Repository:: University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Extent:: 12 linear feet
Language:: English
Preferred Citation:: Leopold Stokowski collection of orchestral transcriptions, circa 1905-1977, Ms. Coll. 351, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
Date:: circa 1905-1977 (inclusive)
Creator:: Stokowski, Leopold
Form:: Scores and Transcriptions (documents)
Abstract:: Leopold Anthony Stokowski was born April 18, 1882 in London and become one of the best-known conductors of the 20th century. Stokowski conducted symphony orchestras across the world from 1909 until his death in 1977. This collection consists of more than 200 scores that often include markings for dynamics, articulations, tempo indications, and otherr revisions of orchestration made by Stokowsi.

Leopold Anthony Stokowski was born April 18, 1882 in London and become one of the best-known conductors of the 20th century. Stokowski conducted symphony orchestras across the world from 1909 until his death in 1977.

A full biographical sketch can be found in the finding aid for the Leopold Stokowski papers.

Stokowski began transcribing orchestral music for the organ but ultimately created many new arrangements for the orchestra in the course of his conducting career. At times his interpretations offer dramatic new conceptions of both familiar and unfamiliar works. Stokowski considered transcription an art and an integral part of his musicianship. This collection consists of more than 200 scores that often include markings for dynamics, articulations, tempo indications, and otherr revisions of orchestration made by Stokowsi.

Gift of Curtis Institute of Music, 1997.

Subject

Music

Publisher: University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Finding Aid Author: Holly Mengel (collection processed before 2013)
Finding Aid Date: 2020 August 7
Access Restrictions: This collection is open for research use.
Use Restrictions: Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Collection Inventory

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Albéniz, Isaac, 1860-1909, Fête Dieu à Séville (Iberia, Fête-Dieu à Séville), originally for piano solo; set of scores and parts consisting of: 1 copyist's manuscript ink score (50 pages), bound in brown Bristol board; 1 copyist's manuscript pencil score (52 pages); 1 photocopy of the ink manuscript; 84 ink manuscript parts; 1 negative photocopy horn part; pencil manuscript contains revisions in red ink; ink & photocopy manuscript are marked for conducting by Stokowski; markings include dynamics, articulations, tempo indications, and further revisions of orchestration; parts marked for performance by orchestra musicians; some parts contain manuscript inserts, [1925].

Box 1

Bach, Carl Philipp Emanuel, 1714-1788, Solfeggietto (Solfeggios, H. 220, C minor), caption title; first 6 measures are marked with notes for orchestration by Leopold Stokowski, 1900s.

Box 2

Bach, Johann Christoph, 1642-1703, Choral vorspiel, Aus der Tiefe rufe ich (Aus der Tiefe rufe ich), originally for organ; formerly attributed to J.S. Bach; set of score and parts consisting of: 1 ink copyist's manuscript score; 1 ink manuscript part; 43 photocopied manuscript parts; score contains revisions written in red ink by Leopold Stokowski; parts marked for performance by orchestra musicians, [1924].

Box 6

Bach, Johann Sebastian, 1685-1750, Adagio from the Toccata and fugue for organ (Toccatas, BWV 564, C major, Adagio), caption title; set of scores consisting of: 2 copyist's manuscripts (marked "SY 2" & "SY 3" respectively); 1 incomplete copyist's manuscript; 1 Broude score (pl. no.: B.B. 131); 64 Broude parts; also includes: an arrangement of the same work for piano by Katherine K. Davis (E.C. Schirmer, c1929), marked by Leopold Stokowski; markings are limited to 2 rehearsal letters and a few stray marks; Broude score marked for performance by Stokowski; markings include dynamics and tempo indications; parts marked for performance by orchestra musicians; shelved with printed version published by Broude Brothers, [1933].

Box 2

Bach, Johann Sebastian, 1685-1750, Air (Suites, BWV 1068, D major, Air), arranged for band; originally for solo violin with string orchestra; caption title; copyist's manuscript (ink); parts marked for performance by band musicians; also included: Air from suite in D : air on the G string / Joh. Sebastian Bach; arranged by Gerard Alphenaar [New York] : Edward B. Marks Music Corp., c1954, with orchestration indicated in pencil, 1900s.

Box 106

Bach, Johann Sebastian, 1685-1750, Andante sostenuto : (Sonata no. 2 for violin solo in A minor) (Sonaten und Partiten, BWV 1001-1006; no. 2, Sonata; Andante), originally for unaccompanied violin; caption title; set of scores and parts consisting of: 2 pencil holograph scores; 1 ink manuscript score spiral bound with cardboard covers; 51 pencil manuscript parts; 17 ink manuscript parts; 2 photocopy parts; also includes: 2 fragments from published editions of the original violin work; one is marked with orchestration notes by Leopold Stokowski; the 32 cm. holograph is the original score; the 34 cm. holograph contains revisions in orchestration including the addition of 2 oboes and English horn; the ink manuscript contains revised dynamics marked in pencil; many of the parts are marked with various copyists'' names or initials and are dated with various dates in 1941, 1941.

Box 3

Bach, Johann Sebastian, 1685-1750, Aria (Suites, BWV 1068, D major, Air), originally for solo violin with string orchestra; duration: circa 5:45; set of score and parts consisting of: 1 copyist's manuscript score (ink); 1 Broude score (pl. no.: B.B. 430); 72 manuscript (photocopy) parts; stamp of the copyist Joseph Oroop appears at the end of the manuscript score dated February 3, 1939; scores marked by Leopold Stokowski; parts marked for performance by orchestra musicians; shelved with printed version published by Broude Brothers, [1939].

Box 4

Bach, Johann Sebastian, 1685-1750, Arioso (Ich steh' mit einem Fuss im Grabe, Sinfonia), sinfonia from a cantata; also used by Bach as the 2nd movement of the Concerto for harpsichord and string orchestra, BWV 1056; set of scores and parts consisting of: 1 pencil holograph score; 1 photocopy of the same score; 47 ink manuscript parts; program note clippings pasted in front of holograph copy; holograph score contains added harp part taped in on ink manuscript inserts; photocopied score marked for performance by Leopold Stokowski; markings include dynamics, tempo indications, and 2 small cuts; parts marked for performance by orchestra musicians; many of the parts bear various copyist's names or initials, presumably these are orchestra members; many are dated September 1940, circa 1936.

Box 5

Bach, Johann Sebastian, 1685-1750, Aus tiefer Noth (Verschiedene Vorspiele über die Catechismus- und andere Gesaenge, BWV 686, Aus tiefer Not schrei' ich zu dir), originally for organ; arranged for brass and strings; caption title; set of score and parts consisting of: 1 ink copyist's manuscript; 65 photocopy manuscript parts; score bound in brown Bristol board; score marked by Leopold Stokowski; markings include duration, dynamics, and a few bowings; parts marked for performance by orchestra musicians, 1900s.

Box 7

Bach, Johann Sebastian, 1685-1750, Bach air II : from Suite no. 3 in D major (Suites, BWV 1068, D major, Air), arranged for string orchestra; originally for solo violin with string orchestra; caption title from 1st violin part; transcribed by Leopold Stokowski; reproduced (Ozalid) from copyist Leo Wonder's manuscript parts; "for Flag Day prayer, recitation by Bette Davis;" date from copyist's stamp at the bottom of each part; parts marked for performance by orchestra musicians, [1945].

Box 4

Bach, Johann Sebastian, 1685-1750, Bourée (Englische Suiten, Nr. 2; Nr. 1, Bourée), originally for solo harpsichord; set of score and parts consisting of: 1 copyist's manuscript (ink); 56 manuscript (photocopy) string parts; 3 manuscript (ink) wind parts; score bound in brown Bristol board; program note clippings are taped to the inside front cover; score marked for performance by Leopold Stokowski; parts marked for performance by orchestra musicians, 1900s.

Box 7

Bach, Johann Sebastian, 1685-1750, Chaconne (Sonaten und Partiten, BWV 1001-1006; no. 2, Partita; Chaconne), originally for unaccompanied violin; caption title; set of score and parts consisting of: 1 copyist's manuscript (ink); 109 manuscript (ink) parts; also included: 1 Edition Peters solo violin part marked by Leopold Stokowski with notes for orchestration (Box 8b); score (Box 8a) is bound in brown Bristol board; program note clippings are taped to the inside front cover; score (Box 8a) marked by Stokowski; markings include dynamics and notes on balances; revisions are written in blue ink; parts (Box 8b) marked for performance by orchestra musicians; some parts contain manuscript inserts, [1930].

Box 8a, 8b

Bach, Johann Sebastian, 1685-1750, Choral "Wohl mir dass ich Jesum habe", "Jesu joy of man's desiring" from the church cantata (no 147) "Herz und Mund" for the festival "Visitationis Mariae" (Herz und Mund und Tat und Leben, BWV 147, Jesus bleibet meine Freude), arranged for orchestra by Leopold Stokowski; caption title; set of scores and parts consisting of: 1 holograph (ink) score; 3 Ozalid copies of the holograph; 38 manuscript (ink) parts; 36 Ozalid copies of the parts; scores marked by Leopold Stokowski; markings include dynamics and tempo indications; one revision is made in the holograph with a manuscript insert; two of the copies are labeled "C.F. Peters Corporation Rental Library;" parts marked for performance by orchestra musicians; copyist's stamp on parts: "Carl V. Pagano", circa 1950.

Box 17

Bach, Johann Sebastian, 1685-1750, Choral from Easter cantata (Christ lag in Todesbanden (Cantata), Jesus Christus, Gottes Sohn), title from caption of manuscript; duration: circa 3:40; set of scores and parts consisting of: 1 copyist's manuscript (ink); 1 Broude Brothers score (pl. no.: B.B. 552) (c1950); 70 Broude Brothers parts (pl. no.: B.B. 553); also includes: 1 vocal score for the cantata (Breitkopf & Härtel ed.) with orchestration notes marked in pencil by Leopold Stokowski; the orchestration in the manuscript includes an electric bass part that does not appear in the Broude ed; manuscript score includes revisions in pencil in Stokowski's hand; Broude score marked for performance by Leopold Stokowski; markings include dynamic, tempo indications, and further changes in orchestration; shelved with printed version published by Broude Brothers, circa 1950.

Box 9

Bach, Johann Sebastian, 1685-1750, Christ lag in Todesbanden : Choral-Vorspiel (Orgelbüchlein Christ lag in Todesbanden), originally for organ; cover title; set of scores and parts consisting of: 3 copyist's manuscript (ink) scores; 47 copyist's manuscript (photocopy) string parts; 6 copyist's manuscript (ink) wind parts; scores marked by Leopold Stokowski; the score labeled "SY1" is the most extensively marked containing revisions in pencil; parts marked for performance by orchestra musicians; markings include bowings.

Box 9

Bach, Johann Sebastian, 1685-1750, Ein feste burg (Feste Burg ist unser Gott (Cantata), Wort sie sollen lassen stahn), caption title; set of scores and parts consisting of: 1 holograph manuscript (ink) on vellum; 1 photocopy of the holograph; 2 holograph sketches, 1 in ink, 1 in pencil; 3 Ozalid copies of copyist's manuscript; 82 manuscript (mostly photocopy) parts; scores marked by Leopold Stokowski; one score marked for performance, the others contain revisions; parts marked for performance by orchestra musicians, [1933].

Box 10

Bach, Johann Sebastian, 1685-1750, Es ist vollbracht (Johannespassion, Es ist vollbacht), originally for alto with orchestra; set of scores and parts consisting of: 2 copyist's manuscript (ink) scores; 6 manuscript (ink) wind parts; 89 manuscript (photocopy) string parts; one of the scores is bound in brown Bristol board; program note clippings are pasted onto the inside front cover; scores marked by Leopold Stokowski; the bound score is marked for performance with markings including dynamics and a few bowings; the unbound score is marked only with rehearsal numbers; parts marked for performance by orchestra musicians; also includes photocopy of score on which annotations were made, [1914].

Box 11

Bach, Johann Sebastian, 1685-1750, Fantasia et fuga (Fantasie und Fuge, BWV 542, G minor), caption title; set of scores and parts consisting of: 2 copyist's manuscript (ink) scores; 89 parts; one of the scores is bound in brown Bristol board; scores marked by Leopold Stokowski; markings include some revisions in pencil, 1900s.

Box 12 & 13

Bach, Johann Sebastian, 1685-1750, First movement of the Sonata in E♭ for pedal-clavier composed for Friedmann Bach (Sonatas, BWV 525, E♭ major), caption title; set of score and parts consisting of 1 copyist's manuscript score; 35 manuscript parts; typescript program notes by Leopold Stokowski are pasted to the inside of the folder containing the parts; score contains performance markings by Leopold Stokowski; markings include duration; parts marked for performance by orchestra musicians; parts contain copyist's stamp "Joseph Oroop" dated 8/17/39; also included: photocopy of manuscript score on which annotations were made, [1939].

Box 25

Bach, Johann Sebastian, 1685-1750, Fugue in C minor (Wohltemperierte Klavier, 1 T.; Nr. 2, Fuga), originally for solo keyboard instrument; set of scores and parts consisting of 3 copyist's manuscript (ink) scores and 81 manuscript (ink) parts; scores marked by Leopold Stokowski; markings include revisions which vary from score to score; some parts marked for performance by orchestra musicians, [1932].

Box 12

Bach, Johann Sebastian, 1685-1750, Fugue in G minor (Fugues, BWV 578, G minor), set of scores and parts consisting of: 1 copyist's manuscript (ink) score; 2 sets of Broude Brothers parts (pl. no.: B.B. 551) (37 parts & 73 parts respectively); score contains revisions in pencil by Leopold Stokowski; score is bound in brown Bristol board; there are typescript program notes pasted on the inside front cover; both sets of parts marked for performance by orchestra musicians; one set is in a grey cover and was labeled as a corrected set; the other set which is much more extensively marked includes several photocopied and manuscript parts; shelved with printed version published by Broude Brothers, [1930].

Box 14

Bach, Johann Sebastian, 1685-1750, Fugue in G minor : (the longer) (Fantasie und Fuge, BWV 542, G minor, Fuge), caption title; set of scores and parts consisting of: 2 copyist's manuscript (ink) scores; 1 copyist's manuscript (ink) condensed score; 2 sets of manuscript parts (49 & 57 parts respectively); one score is bound in brown Bristol board and includes a typescript list of "Suggestions to the players of school orchestras" by Leopold Stokowski taped to the inside front cover; bound score contains a few markings by Stokowski; the other score is unmarked except for rehearsal numbers; parts marked for performance by orchestra musicians, [1926].

Box 15

Bach, Johann Sebastian, 1685-1750, Geistliches Lied : Mein Jesu, was für Seelenweh befällt dich in Gethsemane (Mein Jesu, was für Seelenweh), originally for voice and continuo; arranged for string orchestra; caption title from holograph; duration: circa 5:30; set of scores and parts consisting of: 1 holograph (pencil) score; 2 copyist's manuscript scores (1 ink, 1 photocopy); 1 Broude Brothers score (c1949; pl. no.: B.B. 434); 55 copyist's manuscript (photocopy) parts; 73 Broude parts: (pl. no.: B.B. 435); also included: 1 ink manuscript (1 p.; 34 cm.) in Stokowski's hand of the original work for voice with figured bass realization; Broude scores marked by Leopold Stokowski; markings include duration, tempo indications, and dynamics; parts marked for performance by orchestra musicians; shelved with printed version published by Broude Brothers, [1937].

Box 18

Bach, Johann Sebastian, 1685-1750, Ich ruf' zu dir, Herr Jesu Christ (Orgelbüchlein, Ich ruf' zu dir, Herr Jesu Christ), originally for organ; caption title; set of scores and parts consisting of: 3 copyist's manuscript (ink) scores; 64 copyist's manuscript (ink) parts; all 3 scores contain revisions and performance markings in Leopold Stokowski's hand; markings include durations, dynamics, and tempo indications; parts marked for performance by orchestra musicians; markings include bowings; there is a caricature of Stokowski sketched on the back on the 3rd stand 1st violin part, [1926].

Bach, Johann Sebastian, 1685-1750, Komm süsser Tod (Komm süsser Tod), originally for voice and continuo; caption title from manuscript; set of scores and parts consisting of: 2 copyist's manuscript scores; 5 Broude Brothers scores (c1946; pl. no.: B.B. 130); 79 Broude Brothers parts; scores marked by Leopold Stokowski; both manuscript contain revisions in pencil; the Broude scores contain performance markings; parts marked for performance by orchestra musicians; markings include bowings; shelved with printed version published by Broude Brothers, [1933].

Box 17

Bach, Johann Sebastian, 1685-1750, My soul is athirst : symphonic transcription : Wenn ich einmal soll scheiden (St. Matthew Passion no. 72) (Matthäuspassion, Wenn ich einmal soll scheiden), chorale arranged for orchestra by Leopold Stokowski; caption title from holograph; set of scores and parts consisting of: 1 holograph (ink) score; 1 copyist's manuscript score; 82 copyist's manuscript parts; copyist's manuscript score contains performance markings by Leopold Stokowski; markings include duration, tempo indications, and dynamics; parts marked for performance by orchestra musicians, 1900s.

Box 21

Bach, Johann Sebastian, 1685-1750, Nun komm, der Heiden Heiland (Nun komm, der Heiden Heiland (Chorale prelude), BWV 659), originally for organ; caption title from holograph; set of scores and parts consisting of: 1 holograph (pencil); 1 copyist's manuscript (ink); 2 photocopies of copyist's manuscript; 11 manuscript (ink) parts; 45 manuscript (Ozalid copy) parts; 37 manuscript (photocopy) parts; page 6 is missing from copyist's manuscript; holograph and copyist's manuscript contain performance markings by Leopold Stokowski; the two photocopied scores are apparently taken from a different manuscript copy containing alterations written in by Stokowski; parts marked for performance by orchestra musicians; markings include bowings, [1931].

Box 21

Bach, Johann Sebastian, 1685-1750, Passacaglia (Passacaglia, BWV 582, C minor), originally for organ; arranged for band; caption title; parts marked for performance by band musicians; also included: Passacaglia and Thema Fugatum in C minor / Joh. Seb. Bach; edited by Charles-Marie Widor and Albert Schweitzer, New York, G. Schirmer, [c1940, 1912], with orchestration indicated, 1900s.

Box 106

Bach, Johann Sebastian, 1685-1750, Passacaglia (Passacaglia, BWV 582, C minor), originally for organ; set of scores and parts consisting of: 1 copyist's manuscript score; 1 Broude Brothers score (pl. no.: B.B. 90); 154 Broude Brothers parts (pl. no.: B.B. 91); 2 manuscript parts; both scores contain revisions and performance markings by Leopold Stokowski; typescript program notes by Stokowski are pasted on inside front cover of manuscript; parts marked for performance by orchestra musicians; markings include bowings; shelved with printed version published by Broude Brothers, [1922].

Box 19 & 20

Bach, Johann Sebastian, 1685-1750, Prelude in B minor (Wohltemperierte Klavier, 1 T.; Nr. 24, Praeludium), originally for solo keyboard instrument; arranged for string orchestra; caption title from manuscript; set of scores consisting of: 2 copyist's manuscript scores; 1 Broude Bros score (pl. no.: B.B. 432); scores marked by Leopold Stokowski; markings include dynamics and tempo indications; shelved with printed version published by Broude Brothers, [1927].

Box 20

Bach, Johann Sebastian, 1685-1750, Prelude in E♭ minor (Wohltemperierte Klavier, 1 T.; Nr. 8, Praeludium), originally for solo keyboard instrument; caption title; score marked by Leopold Stokowski; markings include dynamics, tempo indications, muting instructions, and several small alterations; "In intimate halls this prelude can be performed by strings alone, but in large halls the complete orchestration will be clearer, more exp."--penciled note in Stokowski's hand at bottom of page 1; parts marked for performance by orchestra musicians; markings include bowings; also included: photocopy of manuscript score on which annotations were made, [1927].

Box 22

Bach, Johann Sebastian, 1685-1750, Preludio from the Partita in E major (Sonaten und Partiten, BWV 1001-1006; No. 3, Partita; Preludio), originally for unaccompanied violin; caption title from holograph; set of scores and parts consisting of: 1 holograph (pencil) score; 1 Ozalid copy of copyist's manuscript (ink) score; 35 copyist's manuscript parts; scores contain performance markings by Leopold Stokowski; markings include dynamics and articulations; parts marked for performance by orchestra musicians.

Box 23

Bach, Johann Sebastian, 1685-1750, Sarabande in G minor (Englische Suiten, Nr. 3, Sarabande), originally for harpsichord; caption title from copyist's manuscript; set of scores and parts consisting of: 1 holograph (pencil) score; 2 copyist's manuscript (ink) scores; 55 manuscript parts; copyist's manuscript contain performance markings by Leopold Stokowski; parts marked for performance by orchestra musicians, 1900s.

Box 24

Bach, Johann Sebastian, 1685-1750, Sarabnda [sic] : in C minor : from Partita no. 1 in D major (Sonaten und Partiten, BWV 1001-1006; No. 1, Partita; Sarabande), originally for unaccompanied violin; "Sarabande transposed from original B minor to C minor;" set of score and parts consisting of: copyist's manuscript score (ink) with performance markings by Leopold Stokowski; 81 manuscript parts; also included: holograph score (pencil); parts marked for performance by orchestra musicians, 1900s.

Box 23

Bach, Johann Sebastian, 1685-1750, Schafe können sicher weiden = Sheep can safely graze : from the Birthday Cantate "Wir mir gehagt for Herzog Christian zu Sachsen-Weissenfels (Jagdkantate, Schafe können sicher weiden), originally for soprano, 2 flutes, and continuo; arranged for orchestra by Leopold Stokowski; caption title from holograph; set of scores and parts consisting of: 2 photocopies of the holograph score; 3 C.F. Peters scores (1 photocopy) (c1959; pl. no.: 6124); 41 manuscript parts; 23 C.F. Peters parts; manuscript parts are marked "1st version;" scores marked by Leopold Stokowski; markings include durations, tempo indications, and dynamics; parts marked for performance by orchestra musicians, 1900s.

Box 24

Bach, Johann Sebastian, 1685-1750, Siciliano (Sonatas, BWV 1017, C minor, Siciliano), originally for violin and harpsichord; arranged for string orchestra; caption title from holograph; set of scores and parts consisting of: 1 holograph (pencil) score; 2 copyist's manuscript (ink) scores; 1 Broude Brothers score (pl. no.: B.B. 436); 36 Broude Brothers parts (pl. no.: B.B. 437) ; copyist's manuscript contain performance markings by Leopold Stokowski; holograph contains a few revisions; parts marked for performance by orchestra musicians; markings include bowings, circa 1949.

Box 25

Bach, Johann Sebastian, 1685-1750, Sinfonia from the Church Cantata no. 21, Ich hatte viel Bekümmerness (Ich hatte viel Bekümmernis, Sinfonia), set of score and parts consisting of: 1 copyist's manuscript (ink) score; 14 copyist's manuscript (ink) parts; score marked by Leopold Stokowski; markings include dynamics and phrasings; parts marked for performance by orchestra musicians, 1900s.

Box 16

Bach, Johann Sebastian, 1685-1750, Toccata and fugue in D minore (Toccatas, BWV 565, D minor), originally for organ; transcribed for orchestra by Leopold Stokowski; title from manuscript score; duration: circa 9 min; set of scores and parts consisting of: 1 copyist's manuscript score; 1 Broude Brothers score (pl. no.: B.B. 92); 113 manuscript parts; 71 Broude Brothers parts (pl. no.: B.B. 93); duration: circa 9 minutes; typescript program notes by Leopold Stokowski taped to inside front cover; scores contain performance markings by Stokowski; markings include duration, bowings, articulations, tempo indications, and dynamics; manuscript score contains extensive revisions in Stokowski's hand; published score contains list of errata on final page written in by Stokowski; parts marked for performance by orchestra musicians; shelved with printed version published by Broude Brothers, 1940.

Box 26

Bach, Johann Sebastian, 1685-1750, Vater unser im Himmelreich Wer nur den lieben Gott lässt walten (Orgelbüchlein Vater unser im Himmelreich), caption titles; copyist's manuscript (ink) of two organ works; the first work contains notations on orchestration in pencil by Leopold Stokowski, 1900s.

Box 27

Bach, Johann Sebastian, 1685-1750, Wachet auf, ruft, uns die Stimme : chorale prelude (Choräle von verschiedener Art, BWV 645-650, Wachet auf, ruft uns die Stimme), originally for organ, transcribed for orchestra; caption title from holograph; set of scores and parts consisting of: 1 holograph (pencil) score; 1 copyist's manuscript (ink) score; a set of 61 manuscript parts; 6 manuscript parts from of an earlier arrangement of the same work; although the holograph is marked "new version," both scores are virtually identical with the exception of a few minor revisions; the ink score has suffered some water damage making a few measures of the trombone part illegible; both scores are marked for performance by Leopold Stokowski; markings include tempo indications and phrasing; a few of the parts marked for performance by orchestra musicians, [1940].

Box 27

Bach, Johann Sebastian, 1685-1750, Wir glauben all' an einen Gott (Verschiedene Vorspiele über die Catechismus- und andere Gesaenge, Wir glauben all an einen Gott), originally for organ; arranged for band by Leopold Stokowski; unbound photocopy on transparency paper of copyist's manuscript score; shelved with printed version published by Broude Brothers, 1900s.

Box 106

Bach, Johann Sebastian, 1685-1750, Wir glauben all' an einen Gott : Choral Vorspiel (Verschiedene Vorspiele über die Catechismus- und andere Gesaenge, Wir glauben all an einen Gott), copyist's manuscript (negative photostat); originally for organ; at end: 11/23/52, 1952.

Box 28

Bach, Johann Sebastian, 1685-1750, Wir glauben all' an einen Gott : choral-prelude : ("Giant fugue") : symphonic transcription (Verschiedene Vorspiele über die Catechismus- und andere Gesaenge, Wir glauben all an einen Gott), originally for organ; set of scores and parts consisting of: 1 Broude Brothers score (pl. no.: B.B. 132); 1 engraved proof copy score; 76 Broude Brothers parts (pl. no.: B.B. 133); 31 manuscript parts; Broude score marked for performance by Leopold Stokowski; markings include durations, dynamics, and one revision in orchestration; parts marked for performance by orchestra musicians; markings include bowings; manuscript parts are marked with revisions and are in an envelope marked "Don't use", circa 1948.

Box 28

Beethoven, Ludwig van, 1770-1827, Moonlight sonata, 1st part : symphonic transcription (Sonatas, no. 14, op. 27, no. 2, C# minor, Adagio sostenuto), caption title; set of scores and parts consisting of: 1 copyist's manuscript (pencil); 2 G. Schirmer piano scores (pl. no.: 11617); 66 manuscript parts; manuscript score contains alterations and performance markings by Leopold Stokowski; parts marked for performance by orchestra musicians; markings include bowings; also included: photocopy of manuscript score on which annotations were made; two copies of Sonata quasi una Fantasia, Op. 27, No. 2 / L. van Beethoven; revised and fingered by Hans von Bülow and Sigmund Lebert -- New York : G. Schirmer, c1923 with Stokowski's preliminary indications for orchestration, circa 1900s.

Box 29

Berlioz, Hector, 1803-1869, Rackoczy march : (new version) (Damnation de Faust, Marche hongroise), from the opera Damnation de Faust; reorchestrated by Leopold Stokowski; caption title; copyist's manuscript with alterations by Stokowski; score marked for performance by Leopold Stokowski, circa 1900s.

Box 29

Bizet, Georges, 1838-1875, Spanish dance : from L'Arlésienne (Arlésienne, Pastorale), arrangement by Leopold Stokowski for orchestra of an excerpt from a longer movement; orchestration is virtually identical to the original with only a few alterations; caption title; copyist's manuscript (ink) with alterations by Stokowski in pencil and red ink; a few parts marked for performance by orchestra musicians, 1900s.

Box 30

Boccherini, Luigi, 1743-1805, Menuet (Quintets, G. 275, E major, Minuetto), caption title; set of score and parts consisting of: 1 copyist's manuscript score (ink) of the original string parts; 46 manuscript string parts (mimeographed); score contains notations in the hand of Leopold Stokowski for the possible addition of woodwind parts; also includes photocopy of score on which annotations were made, 1900s.

Box 30

Borodin, Aleksandr Porfirʹevich, 1833-1887, Polovetzksy music from Prince Igor (Kni︠a︡z "Igor," Khor polovet︠s︡kikh devushek), opera chorus arranged for orchestra by Leopold Stokowski; caption title; 2 copyist's manuscript scores (ink); one is bound in grey Bristol board with a single leaf containing a 3 measure introduction for brass and low strings written in Stokowski's hand pasted to the inside front cover; the other score incorporates this music; the bound score contains further revisions by Stokowski; both scores are marked for performance by Stokowski; markings include durations, phrasing, and cuts., 1900s.

Box 31

Borodin, Aleksandr Porfirʹevich, 1833-1887, Requiem (Rekviem), originally for piano, 3 hands; transcribed for orchestra; set of scores and parts consisting of: 1 holograph score (pencil and ink); 1 Rahter piano score of the original piano version (pl. no.: 1936); 76 manuscript parts (photocopy); holograph marked for performance by Leopold Stokowski; markings include dynamics; piano score is marked with Stokowski's preliminary indications for orchestration; parts marked for performance by orchestra musicians; several parts are signed and dated by musicians in Cleveland in 1953; also included: manuscript parts (pencil) for male chorus and organ added as optional parts in 1992 by Edwin Heilakka, 1900s.

Box 31

Brahms, Johannes, 1833-1897, D moll concert (Concertos, no. 1, op. 15, D minor), excerpts of the accompaniment of the concerto reorchestrated by Leopold Stokowski; caption title; holographs and copyist's manuscript of mm. 1-25; 67-76 of the 1st movement & mm. 74-87 of the 2nd movement, 1900s.

Box 32

Brahms, Johannes, 1833-1897, Die Mainacht (Gesänge, op. 43, Mainacht), originally for voice and piano; accompaniment arranged for orchestra by Leopold Stokowski; caption title; holograph (pencil), 1900s.

Box 33

Brahms, Johannes, 1833-1897, Feldeinsamkeit (Lieder, op. 86, Feldeinsamkeit), originally for voice and piano; accompaniment arranged for orchestra by Leopold Stokowski; caption title; holograph (pencil), 1900s.

Box 33

Brahms, Johannes, 1833-1897, Hungarian dance no. 1 (Ungarische Tänze, Nr. 1), originally for piano, 4 hands; copyist's manuscript (ink); program note clippings taped to title page; score marked by Leopold Stokowski; markings include durations, dynamics, a few bowings, and revisions to orchestration; parts marked for performance by orchestra musicians; also includes photocopy of score on which annotations were made, 1900s.

Box 32

Brahms, Johannes, 1833-1897, Hungarian dance no. 6 in D (Ungarische Tänze, Nr. 6), originally for piano, 4 hands; copyist's manuscript (ink); score marked by Leopold Stokowski; markings include bowings; parts marked for performance by orchestra musicians; also included: 1 photocopy of the N. Simrock score of the arrangement by Albert Parlow marked by Edwin Heilakka to illustrate the differences between the two versions; photocopy of manuscript score on which annotations were made, 1900s.

Box 32

Brahms, Johannes, 1833-1897, Immer leiser wird mein Schlummer = Ever lighter grows my slumber (Lieder, op. 105, Immer leiser wird mein Schlummer), originally for voice and piano; accompaniment arranged for English horn, bassoon, and strings by Leopold Stokowski; copyist's manuscript, 1900s.

Box 33

Brahms, Johannes, 1833-1897, Immer lieser [sic] wird mein Schlummer : version 2 (Lieder, op. 105, Immer leiser wird mein Schlummer), originally for voice and piano; accompaniment arranged for orchestra by Leopold Stokowski; caption title; holograph (pencil), 1900s.

Box 33

Brahms, Johannes, 1833-1897, Kommt dir manchmal in den Sinn, mein süsser Lieb (Zigeuner Lieder, op. 103, Kommt dir manchmal), originally for voice and piano; accompaniment arranged for orchestra by Leopold Stokowski; caption title; holograph (pencil), 1900s.

Box 33

Brahms, Johannes, 1833-1897, Liebestreu (Gesänge, op. 3, Liebestreu), originally for voice and piano; accompaniment arranged for orchestra by Leopold Stokowski; caption title; holograph (pencil), 1900s.

Box 33

Brahms, Johannes, 1833-1897, Nicht mehr zu dir zu gehen (Lieder und Gesänge, op. 32, Nicht mehr zu dir zu gehen), originally for voice and piano; accompaniment arranged for orchestra by Leopold Stokowski; caption title; holograph (pencil), 1900s.

Box 33

Brahms, Johannes, 1833-1897, Skylark's song (Gesänge, op. 70, Lerchengesang), originally for voice and piano; accompaniment arranged for orchestra by Leopold Stokowski; set of 2 scores consisting of: 1 holograph (pencil); 1 copyist's manuscript (ink); caption title from ink score, German words, 1900s.

Box 33

Brahms, Johannes, 1833-1897, Wiegenlied (Lieder, op. 49, Wiegenlied), originally for voice and piano; arranged for 5 flutes & strings by Leopold Stokowski; caption title from 1st violin part; Photocopies from copyist's manuscript; some parts marked for performance by orchestra musicians; also included: 1 manuscript score (ink) prepared from parts in May 1988 by Edwin Heilakka, 1900s.

Box 33

Buxtehude, Dietrich, 1637-1707, Sarabande et courante (Auf meiner lieben Gott), Two movements from the partita Auf meiner lieben Gott originally for organ; orchestrated by Leopold Stokowski; caption title; scored for woodwinds, strings, and ondes martenot; copyist's manuscript (ink); parts marked for performance by orchestra musicians, 1900s.

Box 34

Byrd, William, 1542 or 3-1623, Pavan Gigue (Earle of Salisbury), originally for solo keyboard instrument; the two pieces are from Parthenia and the Fitzwilliam virginal book respectively; caption title; set of score and parts consisting of: 1 holograph score (pencil); 60 copyist's manuscript parts (ink & mimeographs); score marked for performance by Leopold Stokowski; parts marked for performance by orchestra musicians; also included: album of selected pieces : pianoforte solo / by William Byrd; edited by Granville Bancock (pl. no.: Novello: 13611), containing both works with Stokowski's preliminary notations for orchestra; 1 photocopy of the 1st work from an unidentified facsimile edition, 1900s.

Box 34

Casals, Pablo, 1876-1973, O vos omnes (O vos omnes), originally for mixed choir a cappella; arranged for brass ensemble: 4 horns, 3 trumpets, 2 trombones, and tuba; set of scores and parts consisting of: 1 copyist's manuscript score; 2 Tetra Music published scores (photocopies); 11 Tetra Music parts (photocopies); both published scores contain performance markings by Leopold Stokowski; parts marked for performance by orchestra musicians, 1900s.

Box 35

Cesti, Antonio, 1623-1669, Tu mancavi a tormentarmi, crudelissima speranza (Tu mancavi a tormentarmi, crudelissima speranza), for string orchestra; caption title from manuscript; set of scores and parts consisting of: 1 holograph score (pencil); 1 Broude Brothers score (pl. no.: B.B. 438); 46 Broude Brothers parts (pl. no.: B.B. 439); both scores marked by Leopold Stokowski; holograph contains bowings; Broude score contains performance markings; parts marked for performance by orchestra musicians; markings include bowings; shelved with printed version published by Broude Brothers, circa 1940s.

Box 35

Charpentier, Marc Antoine, 1634-1704, Passecaille : (2d act of the opera Médée) : (Ballard edtion 1695) (Médée Passecaille), opera excerpt originally scored for strings; caption title; set of score and parts consisting of: 1 holograph (ink); 38 copyist's manuscript parts; score contains performance markings by Leopold Stokowski; parts marked for performance by orchestra musicians; also included: Heugel edition score of the original instrumention (pl. no.: H. 31648) containing Stokowski's preliminary indications for reorchestration; photocopy of an unidentified facsimile edition showing the original bass line marked by Stokowski, 1900s.

Box 35

[The children's Christmas story : 6th version], manuscript (ozalid copy); 3 copies; also included: typescript narration; 4 detached leaves of printed music, 1900s.

Box 109

[Christmas music by children], compositions by various unnamed children arranged for orchestra by Leopold Stokowski; title supplied by cataloger; arranger's holographs (pencil); some of the scores contain additional performance markings in red by Stokowski, 1900s.

Box 78

Chopin, Frédéric, 1810-1849, Marche funèbre (Sonatas, no. 2; op. 35, B♭ minor, Marche funèbre), caption title; copyist's manuscript (ink); score laid in Bristol board cover; portraits of the composer are taped to inside front cover; parts marked for performance by orchestra musicians, 1900s.

Box 36

Chopin, Frédéric, 1810-1849, Mazurka in A minor : symphonic transcription (Mazurkas, op. 17; No. 4), arranged for orchestra by Leopold Stokowski; set of scores and parts consisting of: 2 copyist's manuscript scores, one in pencil laid in a folder labeled "1st version," the other in ink bound in brown Bristol board; 2 sets of parts labeled "1st version" & "2nd version" respectively; ink score contains revisions differing from the pencil score and is marked for performance by Leopold Stokowski; markings include duration and tempo indications; there is also the copyist's stamp of Joseph Oroop, dated Feb. 3, 1939; parts marked for performance by orchestra musicians; many of the string parts include inserts reflecting later revisions; also included: Stokowski's pencil sketches (4 leaves) used in preparing this transcription, circa 1939.

Box 37

Chopin, Frédéric, 1810-1849, Mazurkas in B♭ minor (Mazurkas, op. 24; No. 4), copyist's manuscript (ink); score contains revisions in pencil by Leopold Stokowski; parts marked for performance by orchestra musicians; also includes photocopy of score on which annotations were made, 1900s.

Box 38

Chopin, Frédéric, 1810-1849, Prelude [in E minor] (Preludes, op. 28; No. 4), caption title; copyist's manuscript (ink); score marked for performance by Leopold Stokowski; markings include dynamics, phrasing, and bowings, 1900s.

Box 38

Chopin, Frédéric, 1810-1849, Prelude, D minor (Preludes, op. 28; No. 24), arranged for orchestra; set of scores and parts consisting of: 3 copyist's manuscript scores (Lilette Hindin, copyist; 1 is in ink, the other 2 are Ozalid reproductions of a different copy of this score); 2 sets of manuscript parts (1 set of 81 parts in ink; 1 set of 64 Ozalid reproductions of ink manuscript parts copied by Lilette Hindin); all 3 scores contain performance markings and revisions by Leopold Stokowski; one of the copied scores is bound in black cardboard and is marked "Maestro's copy;" both sets of parts are marked for performance by orchestra musicians, 1900s.

Box 39

Chopin, Frédéric, 1810-1849, Valse, op. 64, nr. 2 in C# minor (Waltzes, op. 64; No. 2), arranged for orchestra; cover title from score; set of score and parts consisting of: 1 holograph score (ink); 50 copyist's manuscript parts (ink); score contains revisions and performance markings by Leopold Stokowski; parts marked for performance by orchestra musicians; also included: a sheet of instructions for the copying of parts; the parts included in this set do not follow the format described in these instructions, circa 1900s.

Box 38

Christmas : Xmas carols : 'A', title from label on cover; orchestrated by Leopold Stokowski; set of scores and parts consisting of: 1 holograph (pencil) score; 65 copyist's manuscript parts (string parts are mimeographic copies); score laid in brown Bristol board cover; parts marked for performance by orchestra musicians, 1900s.

Box 76

Christmas carols 'B' : Xmas carols, title from label on cover; orchestrated by Leopold Stokowski; set of scores and parts consisting of: 3 holograph (pencil) scores; 85 copyist's manuscript parts (string parts are photoreproductions); scores laid in brown Bristol board cover; parts marked for performance by orchestra musicians, 1900s.

Box 76

Clarke, Jeremiah, 1669?-1707, Trumpet prelude (Trumpet voluntary), Formerly attributed to Henry Purcell; caption title; copyist's manuscript (ink); includes revisions and performance markings by Leopold Stokowski; parts marked for performance by orchestra musicians, [1924].

Box 62

Corelli, Arcangelo, 1653-1713, Sonata no. 5 (Sonatas, op. 5; No. 5, Adagio), arranged for string orchestra; caption title; set of score and parts consisting of: 1 holograph score (ink); 34 Ozalid copies of copyist's manuscript parts (Lilette Hindin, copyist); score marked for performance by Leopold Stokowski; markings include one cut, 1900s.

Box 40

Debussy, Claude, 1862-1918, La cathédrale engloutie (Preludes, book 1, Cathédrale engloutie), caption title; copyist's manuscript (ink); scores bound in brown Bristol board; scores contains revisions and performance markings by Leopold Stokowski; markings include duration, phrasing, dynamics, bowings, tempo indications, octave transpositions, changes in meter markings, and revisions in orchestration; parts marked for performance by orchestra musicians; also included: 1 copyist's manuscript score in pencil, 1900s.

Box 40, 107A

Debussy, Claude, 1862-1918, La chevelure (Chansons de Bilitis (Songs), Chevelure), originally for voice and piano; arranged for voice and orchestra; copyist's manuscript score, copyist Lucien Cailliet; copyist's manuscript (ink) parts; string parts are mimeographed copies; also includes photocopy of copyist's manuscript score ([8] leaves); parts marked for performance by orchestra musicians, 1900s.

Box 41

Debussy, Claude, 1862-1918, La fille aux cheveux de lin (Preludes, book 1, Fille aux cheveux de lin), arranged for orchestra; caption title; copyist's manuscript, 1900s.

Box 41

Debussy, Claude, 1862-1918, La soiree dans Grenade = La noche en Granada (Estampes, Soirée dans Grenade), originally for piano; caption title; copyist's manuscript; score contains performance markings by Leopold Stokowski; parts marked for performance by orchestra musicians; markings include bowings and extensive revisions; also includes photocopy of score on which annotations were made, [1940].

Box 42

Debussy, Claude, 1862-1918, Moonlight (Suite bergamasque, Clair de lune), originally for piano; caption title; set of scores and parts consisting of: photocopy of Stokowski's holograph score; 2 copyist's manuscript scores; 1 piano score: album Debussy pour piano (Paris : Jobert, c1927); 78 copyist's manuscript parts; holograph and one of the copyist's manuscript scores contain performance markings by Stokowski; markings include durations and phrasing; piano score contains Stokowski's preliminary markings for orchestration; parts marked for performance by orchestra musicians; markings include bowings, [1937].

Box 41

Debussy, Claude, 1862-1918, Romance (Romances, Âme évaporée), originally for voice and piano; accompaniment arranged for orchestra by Leopold Stokowski; caption title from holograph; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 29 manuscript parts; holograph is bound in tan paper covers tied with pink ribbon; copyist's manuscript score is bound in brown Bristol board; a few parts are marked for performance by orchestra musicians, 1900s.

Box 42

Duparc, Henri, 1848-1933, Extase (Extase), originally for voice and piano; arranged for voice and orchestra or orchestra alone; caption title from score; copyist's manuscript; includes extra set of string parts in the key of D♭ major (original key is D major); score marked by Leopold Stokowski; markings include duration and alterations providing alternative version with voice part scored for flute, clarinet, and horn, French words, [1920].

Box 43

Dvořák, Antonín, 1841-1904, Slavic dance in e Moll (Slovanské tance, op. 72; No. 2), originally for piano, 4 hands, orchestrated by the composer, orchestration revised by Leopold Stokowski; caption title from score; set of score and parts consisting of: 1 holograph score (pencil); 2 sets of manuscript parts marked "Old version" and "New version" respectively; at head of score: "(This is 2d. version) (No 3d)!;" score contains extensive alterations and performance markings by Stokowski including dynamics, bowings, tempo indications, added instruments, phrasing, and cuts; parts marked for performance by orchestra musicians, 1900s.

Box 44

Fais dodo, Colas mon p'tit frère, Old French song, caption title; arranged for string orchestra by Leopold Stokowski; copyist's manuscript, 1900s.

Box 78

Foster, Stephen Collins, 1826-1864, Oh! Susanna (Oh! Susanna), originally for voice and piano; arranged by Leopold Stokowski in three versions: Majeur (for strings), Mineur (for brass), and Whole tone version (for woodwinds and percussion); caption title; set of score and parts consisting of: 1 holograph score (pencil with revisions in pencil & red ink); 68 copyist manuscript parts; a few parts marked for performance by orchestra musicians, 1900s.

Box 45

Franck, César, 1822-1890, Panis angelicus (Panis angelicus), sacred song originally for voice with instrumental ensemble; set of scores and parts consisting of: 80 manuscript parts; 1 copyist's manuscript score reconstructed from the part by Edwin Heilakka in 1985; 1 Boston Music Co. vocal score (pl. no.: B.M.Co. 1903) containing Leopold Stokowski premlinary indications for orchestration, 1900s.

Box 45

Frescobaldi, Girolamo, 1583-1643, Gagliarda (Toccate e partite d'intavolatura, libro 2o.; No. 2, Gagliarda), originally for harpsichord; caption title; set of scores and parts consisting of: 1 holograph score (pencil); 2 copyist's manuscript scores (ink); 77 manuscript parts; one of the ink scores contains performance markings by Leopold Stokowski; markings include dynamics, tempo indications, and mute markings; parts marked for performance by orchestra musicians, 1900s.

Box 45

Gabrieli, Giovanni, 1557-1612, Canzon quarti toni a 15 : (three instrumental choirs of 5 parts each) (Sacrae symphoniae, Canzon quarti toni), originally for unspecified instruments; arranged by Leopold Stokowski for three choirs of wind instruments: Choir I. 2 trumpets, 1 horn, 2 trombones; Choir II. 4 flutes, English horn, 2 oboes, 2 bassoons, contra-bassoon; Choir III. 2 trumpets, 1 horn, 2 trombones, 1 tuba; caption title; program notes dated November 1949 and seating diagram are taped to covers; set of scores and parts consisting of: 1 holograph score (blue ink); 1 photocopy of an unidentified published score (pl. no.: I.M. 2); 38 manuscript parts; holograph contains performance markings by Stokowski; markings include duration, dynamics, and tempo indications; holograph also contains manuscript overlays covering Stokowski's original instrumentation of Choir II for 4 horns and tuba; parts marked for performance by orchestra musicians, circa 1949.

Box 46

Gabrieli, Giovanni, 1557-1612, In ecclesiis benedicito Domino from the Symphoniae sacrae : for 2 four-part choruses, brass instruments & organ : "Pomp & splendour" (Symphoniae sacrae, In ecclesiis), motet originally for solo voices, four-part chorus, instruments, and organ; arranged by Leopold Stokowski for 2 four-part choruses (SATB), brass ensemble (4 trumpets, 6 horns, 4 trombones, and 2 tubas) and organ; set of scores and parts consisting of: 1 holograph score (blue ink); 3 Ozalid reproductions of a different ink holograph score showing voice and organ parts only; 1 Broude Brothers rental score; 1 G. Schirmer vocal score (pl. no.: 17515); 1 organ part; 2 sets of brass parts (16 parts each), one is a set of copyist's, manuscript (ink) parts, the other is a Broude Brothers rental set; holograph is profusely marked by Leopold Stokowski with alterations, overlays, and cuts; one of the Ozalid scores is marked for performance, while the other two are labeled to be used as chorus parts; Broude score contains a few scattered performance markings; manuscript parts contain revisions in Stokowski's hand; both sets of parts are marked for performance by orchestra musicians; shelved with printed version published by Broude Brothers Latin words, 1900s.

Box 46

Gabrieli, Giovanni, 1557-1612, Sonata pian e forte : Sacrae symphoniae, Venice 1597 (Sacrae symphoniae, Sonata pian e forte), originally for 8 unspecified instruments; arranged for large wind ensemble; copyist's manuscript; copyist's stamp on parts: Lilette Hindin; added organ part in Stokowski's hand; program note clipping pasted to title page verso; score marked by Leopold Stokowski; markings include duration, performance markings, and revisions including the addition of an organ at the final cadence, 1900s.

Box 47

Gluck, Christoph Willibald, 1714-1787, Siclienne (Armide, Sicilienne), opera excerpt, originally for flute & strings; arranged by Leopold Stokowski for string orchestra; caption title; set of scores and parts consisting of: 1 holograph score (ink); 34 parts reproduced from holograph photostat masters; score contains further markings by Stokowski including durations; also included: masters for parts and a photocopy of the original instrumentation; also included: photocopy of score marked for performance ([3] leaves; 28 cm.), 1900s.

Box 47

God save the King, My country tis of thee, caption title; parts contain copyist's mark: Lilette Hindin; also included: 1 full score prepared from the parts in 1988 by Edwin Heilakka, [1957].

Box 80

Handel, George Frideric, 1685-1759, Ciaconna (Suites, HWV 432, G minor, Passacaille), Incomplete arrangement for orchestra by Leopold Stokowski; caption title; also includes: piano score (Klavierwerke : v. 1 / G.F. Händel -- Neu Revidiert von Wilhelm Dörr -- Wien : Universal-Edition, [19--?] (pl. no.: U.E. 773.)) containing Stokowski's preliminary indications for orchestration of this movement, 1900s.

Box 48

Handel, George Frideric, 1685-1759, Concerto grosso in B♭ (Concerti grossi, op. 3; No. 1), set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 48 manuscript parts (string parts are mimeographed copies); caption title from ink score; parts marked for performance by orchestra musicians, 1900s.

Box 48

Handel, George Frideric, 1685-1759, Funeral march : Dead march from "Saul" (Saul, Marche), oratorio excerpt, originally for chamber orchestra, arranged for full orchestra; caption title; set of 2 scores consisting of: 1 holograph (pencil); 1 copyist's manuscript (ink); 71 manuscript parts; ink score is labeled "Final version" and contains alterations and performance markings by Leopold Stokowski; parts marked for performance by orchestra musicians; shelved with printed version published by Broude Brothers, 1900s.

Box 49

Handel, George Frideric, 1685-1759, Overture in D minor (Chandos anthems, In the Lord put I my trust; Sonata), originally for 2 oboes, string orchestra, and continuo; arranged for full orchestra; caption title; copyist's manuscript (ink); score marked by Leopold Stokowski; markings include performance markings and revisions such as durations, tempo indications, doublings, articulations, and dynamics; there is also a note to add parts for 3 clarinets, 3 trumpets, and tuba which do not appear in the score; score includes a cadenza for violins composed by Stokowski; parts marked for performance by orchestra musicians; markings include bowings, 1900s.

Box 50

Handel, George Frideric, 1685-1759, Sinfonia pastorale : from the Messiah (Messiah, Pifa), oratorio excerpt originally for string orchestra and continuo, arranged for 2 oboes, 2 bassoon, 4 horns, and strings; caption title; set of scores and parts consisting of: 1 holograph score (pencil); 2 copyist's manuscript scores (ink); 54 manuscript parts; one of the ink scores is marked for performance by Leopold Stokowski; markings include duration and dynamics; parts marked for performance by orchestra musicians, 1900s.

Box 49

Handel, George Frideric, 1685-1759, Water music (Water music), set of scores and parts consisting of: 2 copyist's manuscript score (ink); 78 manuscript parts (string parts are mimeographed copies); copyist Lucien Cailliet; numerous pencil alterations by Leopold Stokowski; parts marked for performance by orchestra musicians; includes: Adagio -- 1 manuscript score, 1900s.

Box 119

Hoffstetter, Roman, 1742-1815, Andante cantabile : (serenade) : eighteenth century dance : (from the 4tet in F major (Quartets, op. 3; No. 5, Andante cantabile), arranged for flute, oboe, clarinet, and strings; caption title; erroneously attributed to J. Haydn -- Cf. New Grove; set of scores and parts consisting of: 1 holograph score (pencil); 1 photocopy of the holograph reformatted to fit on fewer pages; 46 manuscript parts (many of the string parts are mimeographed copies); scores marked for performance by Leopold Stokowski; markings include duration, phrasing, dynamics, tempo indications, and articulations; parts marked for performance by orchestra musicians; also includes 1 score of the original version published by Fr. Kistner containing a few superficial markings by Stokowski, 1900s.

Box 51

Ippolitov-Ivanov, Mikhail Mikhaĭlovich, 1859-1935, Traditional Slavic Christmas music : for brass and strings (In the manger), for 4 horns, 3 trumpets, 3 trombones, tuba, and strings; arranged by Leopold Stokowski; duration: circa 4 minutes; set of scores and parts consisting of: 1 Broude score (pl. no.: A.B. 255) containing Stokowski's performance markings; 2 sets (1 photocopy) of galley proofs of the Broude score containing corrections and revisions by Stokowski; 1 set of 44 Broude parts (a few contain performance markings); 2 sets of copyist's manuscript parts (44 parts each set) containing extensive performance markings including bowings; original title on galley proofs: Traditional Russian music for Christmas; one set of manuscript parts bears the title: In a manger / I. Ivanof; additional titles typed or handwritten on covers of galley proofs: Traditional Slavic Christmas song; Russian carol; Slavic Christmas music, circa 1969.

Box 79

Kimi ga yo : Japan, four Japanese folk songs arranged for winds and percussion by Leopold Stokowski; the 1st is arranged for English horn, contrabass clarinet & percussion, the 2nd for piccolo, bassoon & percussion, the 3rd & 4th for xylophone and percussion; the 2nd song is the only one with an individual title: Drill song (Shōtai); holograph score (pencil); copyist's manuscript parts (ink); parts marked for performance by orchestra musicians, 1900s.

Box 78

Kleine Präludien und Fugen, Prelude & fugue in E minor, originally for organ; the attribution of these pieces to Bach is doubtful, and the provenance is otherwise unknown; set of scores and parts consisting of: 1 holograph (pencil) score; 1 copyist's manuscript score; 63 copyist's manuscript parts; copyist's score contains performance markings by Leopold Stokowski; parts marked for performance by orchestra musicians, 1900s.

Box 22

Liszt, Franz, 1811-1886, Drei Zigeuner : voice & orchestra (Drei Zigeuner), originally for voice and piano; accompaniment orchestrated by Leopold Stokowski; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 53 copyist's manuscript parts (ink); parts marked for performance by orchestra musicians; copyist's signature ("Arthur Luck, 10' 17") appears at the bottom of most of the parts, [1917].

Box 52

Liszt, Franz, 1811-1886, Wanderer's night song : Über allen Gipfeln ist Ruh : song for voice and orchestra (Über allen Gipfeln ist Ruh), originally for voice and piano; accompaniment arranged by Leopold Stokowski; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 44 manuscript parts (ink); parts marked for performance by orchestra musicians, German text with English translation, 1900s.

Box 52

Lully, Jean-Baptiste, 1632-1687, Air d'Oriane de la tragédie "Amadis" (1684) (Amadis, Fermez vous pour jamais), opera excerpt; arranged for voice, harp, and string orchestra; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 35 copyist's manuscript parts (ink), French words, 1900s.

Box 51

Lully, Jean-Baptiste, 1632-1687, Atys (Atys, Atys est trop heureux), opera aria; arranged for voice and string orchestra by Leopold Stokowski; holograph (pencil), 1900s.

Box 51

Mattheson, Johann, 1681-1764, Air (Pièces de clavecin, no. 5, Suite; Air), originally for harpsichord; arranged for orchestra; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 39 copyist's manuscript parts (ink); score marked for performance by Leopold Stokowski; markings include dynamics; parts marked for performance by orchestra musicians; also includes: G. Schirmer score of this work in an arrangement for violin & piano by Willy Burmester marked by Stokowski with preliminary indications for orchestration, 1900s.

Box 53

[Miscellaneous manuscripts from the Leopold Stokowski Collection of Orchestral Transcriptions], 2 manuscript scores (pencil) in Leopold Stokowski's hand, one of an unidentified work for orchestra, the other for 2 trumpets, 2 trombones, timpani, and strings, apparently the accompaniment of a work for voices or narration; 1 set of parts (ink) for the accompaniment of an unidentified aria, 1900s.

Box 107

Monteverdi, Claudio, 1567-1643, L'Orfeo (Orfeo), suite of opera excerpts arranged for full orchestra; caption title; set of score and parts consisting of: 1 holograph score (pencil); 108 copyist's manuscript parts (ink); parts marked for performance by orchestra musicians, 1900s.

Box 53

Mozart, Wolfgang Amadeus, 1756-1791, Concerto for oboe and orchestra (K. 370) (Köchel 370) (Quartets, K. 370, F major), copyist's manuscript (ink) with wind parts added by Leopold Stokowski in pencil, [1920].

Box 54

Mozart, Wolfgang Amadeus, 1756-1791, March from The marriage of Figaro (Nozze di Figaro, Ecco la marcia), copyist's manuscript (ink); revisions in pencil and performance markings in red by Leopold Stokowski, 1900s.

Box 54

Mozart, Wolfgang Amadeus, 1756-1791, Turkish march : Alla turca, Sonata in A major, Köchel 331 : symphonic transcription (Sonatas, K. 331, A major, Alla turca), caption title; orchestrated by Leopold Stokowski; set of score and parts consisting of: 1 holograph score (ink); 45 copyist's manuscript parts; also included: Sonatas and three fantasias for piano / Mozart (Kalmus ed.); alla turca movement of Sonata, K. 331 is marked with Stokowski's preliminary indications for orchestration; score is written in black ink with revisions in blue; also marked for performance by Leopold Stokowski; markings include durations, dynamics, and articulations, 1900s.

Box 54

Mussorgsky, Modest Petrovich, 1839-1881, Boris Godunov (Boris Godunov), excerpts from Mussorgsky's opera transcribed and reworked by Leopold Stokowski; "based on Musorgsky's original m.s (not Rimsky Korsakow);" set of scores and parts consisting of: 3 manuscript scores ("No.3A": copyist's manuscript (ink) bound in brown Bristol board with revisions by Stokowski in blue ink; "No. 2" copyist's manuscript (ink) with revisions by Stokowski in pencil; "N": photocopy of pencil holograph (original is missing)); 103 manuscript parts; also included: [38] p. of choral excerpts with English words copied from St︠s︡ena pod Kromami iz opera Boris Godunov / M. Musorgskii (Moskva : Gos. muzykalʹnoe izd-vo, 1933) labeled "Use with L.S. arr. marked 'use with chorus';" also included: p. 200-224 of choral excerpts with English words copied St︠s︡ena pod Kromami iz opera Boris Godunov / M. Musorgskii (Moskva : Gos. muzykalʹnoe izd-vo, 1933); also included: 1 manuscript chorus score (12 p.) without accompaniment with English words; also included: St︠s︡ena pod Kromami iz opera Boris Godunov / M. Musorgskii (Moskva : Gos. muzykalʹnoe izd-vo, 1933); all three full scores have been marked for performance by Leopold Stokowski; markings include tempo indications, dynamics, and bowings; parts marked for performance by orchestra musicians, [1936].

Box 55 & 56

Mussorgsky, Modest Petrovich, 1839-1881, Chowantchina : opéra de Moussorgsky : Entr'acte (Khovanshchina, Act 4; Scene 2), title from manuscript score; duration: circa 4:15; set of scores and parts consisting of: 2 copyist's manuscript scores; 1 Broude Brothers score (pl. no.: B.B. 554); 82 Broude Brothers parts (pl. no.: B.B. 555); 1 manuscript cassa part; one of the manuscript scores (labeled "YY" and marked "re-orchestrate") contains extensive revisions and performance markings by Leopold Stokowski; these revisions are incorporated in the other manuscript and the published score; the Broude score also contains Stokowski's performance markings; parts marked for performance by orchestra musicians; markings include bowings; the manuscript cassa part is labeled "Made for Manuel Roth, Phila.;" the cassa part does not appear either of the manuscript scores, but is written into the Broude score in Stokowski's hand; shelved with printed version published by Broude Brothers, 1900s.

Box 55

Mussorgsky, Modest Petrovich, 1839-1881, Night on Bare Mountain : Witches Sabaoth (Nochʹ na Lysoĭ gore), based on both the 1867 & 1880 Mussorgsky versions, reorchestrated by Leopold Stokowski; caption title from holograph; set of scores and parts consisting of: 1 holograph (pencil); 2 copyist's manuscript scores; 2 sets of parts (70; 75 parts); holograph and one of the copyist's manuscript contain performance markings by Stokowski; markings include duration, phrasing, tempo indications, and one cut; parts marked for performance by orchestra musicians; many parts contain manuscript inserts; both sets of parts are in folders labeled "Disney set;" also included: 4 loose manuscript inserts; also included: 1 score of the original Mussorgsky version hand-copied in blue ink (109 p.; 36 cm.) bound in brown Bristol board, [1938 or 1939].

Box 57-59

Mussorgsky, Modest Petrovich, 1839-1881, Tableaux d'une exposition (Kartinki s vystavki), originally for piano solo; title from manuscript score; duration: 27:44; set of scores and parts consisting of: 1 copyist's manuscript (ink) score; 1 Henmar score (Ozalid copy); 2 C.F. Peters scores (Publisher's no. 6528); 1 Henmar percussion part; 4 manuscript p. of additional music in Stokowski's hand (ink) are inserted between p. 84-85 of the manuscript score; manuscript score is bound in brown Bristol board; Henmar score is bound in black; both scores have program note clippings pasted on preliminary pages; manuscript score include revisions in pencil by Leopold Stokowski; all 4 scores are marked for performance by Stokowski; markings include: duration, phrasing, tempo indications, dynamics, some bowings, and articulations; also included: galley proofs (p. -78, 15-6, 21-2, 25-6, 73-4, 85-6 and 95-8) with corrections marked in red ink and pencil, [1939].

Box 108

Nováček, Ottokar, 1866-1900, Perpetuum mobile (Perpetuum mobile), originally for violin and orchestra; arranged by Leopold Stokowski for soli violas and orchestra; transposed into G minor (original key, D minor); set of scores and parts consisting of: 1 holograph (pencil) score; 89 copyist's manuscript parts; 1 Carl Fischer violin part of the original version (pl. no.: 20823-15); score marked for performance by Leopold Stokowski; parts marked for performance by orchestra musicians; the Carl Fischer violin part is marked with dyanamics, 1900s.

Box 60

Nováček, Ottokar, 1866-1900, Perpetuum mobile (Perpetuum mobile), originally for violin and orchestra; reorchestrated by Leopold Stokowski for soli violins and orchestra; set of scores and parts consisting of: 1 copyist's manuscript (ink) score; 2 C. Fischer scores of an arrangement for violin and piano (pl. no.: B 2668); 40 copyist's manuscript parts; also included: 2 photocopies of the manuscript score; score marked for performance by Leopold Stokowski; the violin part has been pasted into this score, apparently having been cut out from the solo part from one of the Fischer scores; the 2 Fischer scores have rehearsal numbers and dynamics written in; one score bears the annotation "used for 1971-72 version;" some parts are marked for performance by orchestra musicians, [1971 or 1972?].

Box 60

Purcell, Henry, 1659-1695, [5 pieces] (Selections), suite of 5 pieces arranged for orchestra by Leopold Stokowski; the first movement is originally for harpsichord; the 2nd, 3rd & 5th movements are from the opera The fairy queen; the 4th movement is from the opera Dido and Aeneas; title from the folder containing the parts; set of score and parts consisting of: 1 holograph (pencil) score; 59 copyist's manuscript (ink) parts (string parts are Ozalid copies); score marked for performance by Leopold Stokowski; markings include dynamics and phrasing; revisions are written in blue ink, 1900s.

Box 62

Rachmaninoff, Sergei, 1873-1943, Prelude in C# minor : symphonic transcription (Morceaux de fantaisie, op. 3, Prélude), originally for piano solo; arranged for orchestra by Leopold Stokowski; caption title from holograph; duration: 5:19; set of scores and parts consisting of: 1 holograph score (pencil & black ink); 1 copyist's manuscript score (ink); 77 copyist's manuscript parts (string parts are photoreproductions); scores marked for performance by Leopold Stokowski; markings include dynamics, tempo indications, and phrasing; parts marked for performance by orchestra musicians; markings include bowings; also included: 1 G. Schirmer piano edition of the original version (pl. no.: 13808) containing Stokowski's preliminary notations for orchestration, 1900s.

Box 63

Rameau, Jean-Philippe, 1683-1764, Castor et Pollux overture (Castor et Pollux, Ouverture), opera overture; caption title from score; holograph score (pencil); copyist's manuscript parts (ink); parts marked for performance by orchestra musicians, 1900s.

Box 61

Rimsky-Korsakov, Nikolay, 1844-1908, [Andante from Kitesch] (Skazanie o nevidimom grade Kitezhe i deve Fevronii, Chtozh stoim my, sestry?), opera excerpt; title from label inside folder; copyist manuscript (ink); string parts are mimeographed copies, 1900s.

Box 64

Rimsky-Korsakov, Nikolay, 1844-1908, Danse de Snégourotchka (Snegurochka, Pli︠a︡ska skomorokhov), caption title; copyist's manuscript; string parts are mimeographed copies; both scores are bound in brown Bristol board; scores contain extensive revisions in red ink; parts marked for performance by orchestra musicians; markings include bowings, 1900s.

Box 66

Rimsky-Korsakov, Nikolay, 1844-1908, Die Hummel = The bee : scherzo (Skazka o t︠s︡are Saltane, Nu, teperʹ, moĭ shmelʹ), opera excerpt arranged for orchestra by Leopold Stokowski; set of scores and parts consisting of: 2 copyist's manuscript scores (1 is a photoreproduction bound in brown Bristol board); 54 copyist's manuscript parts (many are Ozalid reproductions); both scores contain revisions and performance markings by Leopold Stokowski; markings include phrasing, articulations, and dynamics; parts marked for performance by orchestra musicians, 1900s.

Box 63

Rimsky-Korsakov, Nikolay, 1844-1908, Kitesch : Vorspiel, Lob der Einsamkeit ; Zwischenspiel, Die Schlacht am Kershenez (Skazanie o nevidimom grade Kitezhe i deve Fevronii, Pokhvala pustyie), opera excerpts; caption title; copyist's manuscript (ink); string parts are mimeographed copies; parts marked for performance by orchestra musicians, 1900s.

Box 64

Rimsky-Korsakov, Nikolay, 1844-1908, Pskovityanka : symphonic intermezzo = intermezzo sinfonico : (A dense forest near the Pechersky Monastery, Horns of huntsmen heard in the distance, Storm, Blood red sunset : prelude to IIId act from Pskovityanka (Ivan the the [sic] Terrible) = Das Mädchen von Pskoff (Iwan der Schreckliche (Pskoviti︠a︡nka (Opera, 1892), Deĭstvie 3, Vstuplenie), orchestrated by Leopold Stokowski; set of scores and parts consisting of: 1 holograph score (pencil with revisions in ink); 1 photoreproduction of the holograph; 63 copyist's manuscript parts; the first 15 measures of the holograph are crossed out; this deletion is reflected in the photocopy; both scores are marked for performance by Leopold Stokowski; markings include dynamics, tempo indications, articulations, and phrasing; parts marked for performance by orchestra musicians, 1900s.

Box 65

Rouget de Lisle, Claude Joseph, 1760-1836, La marseillaise (Marseillaise), caption title; copyist's manuscript (ink); score is bound in brown Bristol board; a few parts marked for performance by orchestra musicians; many of the parts are mimeographed copies, 1900s.

Box 43

Ruggles, Carl, 1876-1971, Men and mountains : symphonic ensemble for large orchestra : Arlington, Vermont, 1924-1949, copyist's manuscript (ozalid copy); for orchestra; Leaf [1] in ink; revisions and performance markings in pencil and paste-ins by Leopold Stokowsi; markings include duration, phrasing, dynamics, bowings, tempo indications and revisions in orchestration; "Published by New music, October, 1927;" San Francisco, v. 1, no. 1.; Inspired by "Great things are done when men and mountains meet," by William Blake, a couplet from the Rossetti manuscript; "To Eugene Schoen.;" "Marching mountains to Franz Lorenz;" excerpt from the review by Lawrence Gilman in the New York Herald-Tribune December 8, 1924 reproduced on leaf ii, circa 1949.

Box 108A

Schubert, Franz, 1797-1828, Dances (Piano music), originally for piano; orchestrated by Leopold Stokowski; title from label on cover of score; set of score and parts consisting of: 1 holograph score (pencil); 83 copyist's manuscript parts (string parts are photoreproductions); score is bound in brown Bristol board; parts marked for performance by orchestra musicians, 1900s.

Box 67

Schubert, Franz, 1797-1828, Der Leiermann : voice & orchestra (Winterreise, Leiermann), originally for voice and piano; accompaniment arranged for orchestra by Leopold Stokowski; cover title; holograph (pencil); bound in brown paper tied with string, German words; only a few words appear in the score as cues, circa 1900s.

Box 68

Schubert, Franz, 1797-1828, Deütsche Tänze : Tyrolean dances (Deutsche und Ecossaisen, D. 783, Deutsche), originally for piano; arranged to be played without pause in the following order: nos. 1, 7, 3, 4, 5, 10, 13, 14, 15, 7, 1; caption title; copyist's manuscript (ink); string parts are mimeographic copies; both scores contain extensive revisions by Stokowski; one score (labeled "SY 1" also contain performance markings including durations; label on inside cover of container for parts: "Recorded Dec. 10, 1944 for Victor, Carnegie Hall;" parts marked for performance by orchestra musicians; markings include bowings, circa 1944.

Box 70

Schubert, Franz, 1797-1828, Du bist die Rùhe : voice & orchestra (Du bist die Ruh), originally for voice and piano; accompaniment arranged for orchestra by Leopold Stokowski; holograph (pencil); bound in brown paper covers with string, German words; only a few words are included in score as cues, circa 1900s.

Box 68

Schubert, Franz, 1797-1828, Erlkönig : voice & orchestra (Erlkönig), originally for voice and piano; accompaniment arranged for orchestra by Leopold Stokowski; cover title; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 55 copyist's manuscript parts; score contains performance markings by Leopold Stokowski; markings include dynamics and a few bowings, German words, circa 1900s.

Box 68

Schubert, Franz, 1797-1828, Gute Nacht : voice & orchestra (Winterreise, Gute Nacht), originally for voice and piano; accompaniment arranged for orchestra by Leopold Stokowski; cover title; holograph (pencil), German words; only the text for the 1st line appears in the score, and afterwards only a few words as cues, circa 1900s.

Box 68

Schubert, Franz, 1797-1828, Minore III (Impromptus, D. 935; No. 3; No. 3, Variation), originally for piano; arranged by Leopold Stokowski to be incorporated into the Entr'acte no. 3 from Schubert's incidental music for Rosamunde; the entr'acte and the impromptu share the same theme; caption title; copyist's manuscript; string parts are mimeographic copies; one score (labeled "SY. 1.") contains revisions and performance markings by Leopold Stokowski; parts marked for performance by orchestra musicians, [1977].

Box 67

Schubert, Franz, 1797-1828, Moment musicale (Moments musicaux, No 3), originally for piano; copyist's manuscript; string parts are mimeographic copies; scores contain performance markings by Leopold Stokowski; markings include dynamics, articulations, and tempo indications; parts marked for performance by orchestra musicians, 1900s.

Box 70

Schubert, Franz, 1797-1828, Serenade (Schwanengesang (Song cycle), Ständchen), originally for voice and piano; arranged for orchestra by Leopold Stokowski; caption title; set of score and parts consisting of: 1 pencil holograph score; 1 photocopy of the pencil holograph score, with an added tempo marking; 92 copyist's manuscript parts (ink), string parts are photoreproductions; label on inside cover of folder containing the parts: "Jan. 18, 1945, City Symph. Orch., City Centre Theatre;" also included: 1 score of the original version (G. Schirmer, c. 1939) containing Stokowski's preliminary indications for orchestration, circa 1945.

Box 69

Schubert, Franz, 1797-1828, Serenade : voice & orchestra (Schwanengesang (Song cycle), Ständchen), originally for voice and piano; accompaniment arranged for orchestra by Leopold Stokowski; caption title; holograph (pencil), incomplete; bound with pink string, 1900s.

Box 69

Schumann, Robert, 1810-1856, Lied der Braut no. 1; Lied der Braut no. 2 (Myrthen, no. 1, Lieder der Braut aus dem Liebesfrühling), originally for voice and piano; accompaniment arranged for orchestra; Texts by Friedrich Rückert; caption title; set of scores and parts consisting of: 1 holograph score (pencil) & 1 copyist's manuscript score (ink) for each song; 1 set of 23 copyist's manuscript parts (ink) for both songs, German words with English translation, 1900s.

Box 71

Schumann, Robert, 1810-1856, Träumerei (Kinderscenen, Träumerei), originally for piano; arranged for orchestra by Leopold Stokowski; caption title; 1 holograph score (pencil); 45 copyist's manuscript parts (ink); also included: 1 Theodore Presser score of the original piano version marked with Stokowski's preliminary indications for orchestration; parts marked for performance by orchestra musicians, 1900s.

Box 71

Scriabin, Aleksandr Nikolayevich, 1872-1915, Ètude in C# minor (Morceaux, op. 2, Etude), originally for piano; arranged for orchestra by Leopold Stokowski; copyist's manuscript (ink); strings parts are photoreproductions; score contains performance markings by Leopold Stokowski; markings include dynamics and tempo indications; parts marked for performance by orchestra musicians; markings include bowings, 1914.

Box 71

Shostakovich, Dmitriĭ Dmitrievich, 1906-1975, Entr'act from Lady Macbeth (Ledi Makbet Mt︠s︡enskogo uezda, Antrakt mezhdu 6ĭ i 7ĭ kartinami), opera excerpt; arranged for orchestra by Leopold Stokowski; caption title; set of scores and parts consisting of: 1 holograph score (pencil); 1 Ogiz Muzgiz vocal score of the complete opera (pl. no.: M. 14346 G.); 99 copyist's manuscript parts (string parts are photoreproductions); holograph contains a few performance markings by Leopold Stokowski; vocal score contains Stokowski's preliminary indications for orchestration (pages 214-218); parts marked for performance by orchestra musicians, [1936].

Box 73

Shostakovich, Dmitriĭ Dmitrievich, 1906-1975, Prelude in E♭ minor (Preludes, op. 34; No. 14), originally for piano; arranged for orchestra by Leopold Stokowski; caption title; set of scores and parts consisting of: 2 copyist's manuscript scores (ink); 1 copyist's manuscript condensed score (ink); 1 Broude Brothers score (pl. no.: B.B. 180); 71 Broude Brothers parts (pl. no.: B.B. 181); 77 manuscript parts; also included: 1 Am-Rus Music score of the original piano version with Stokowski's preliminary indications for orchestration; the Broude score is marked for performance by Leopold Stokowski; markings include phrasing, a few bowings, dynamics, and a few alterations; parts marked for performance by orchestra musicians, 1900s.

Box 72

Shostakovich, Dmitriĭ Dmitrievich, 1906-1975, United Nations march : symphonic transcription (Vstrechnyĭ), excerpt from the score to the motion picture Vstrechnyĭ; set of scores and parts consisting of: 1 holograph score (pencil); 1 negative photocopy of the holograph; 72 manuscript parts (primarily Ozalid copies); a few of the parts are marked for performance by orchestra musicians, 1900s.

Box 74

Sibelius, Jean, 1865-1957, Berceuse : from suite #1, Shakespeare's The tempest : op. 109, no. 2 (Tempest Intrada-berceuse), originally for full orchestra; reorchestrated for chamber orchestra by Leopold Stokowski; copyist's manuscript (ink); string parts are photoreproductions; also included: 5 master transparencies for the string parts; score marked for performance by Leopold Stokowski; parts marked for performance by orchestra musicians, [1949].

Box 75

Solito de Solis, Aldo, Cadiz : d'àprés les Portraits d'Éspagne : op. 17, no. 1 (Moods of Spain, Cadiz), originally for piano; arranged for orchestra, possibly by Leopold Stokowski; holograph (pencil), 1900s.

Box 109

Sousa, John Philip, 1854-1932, El capitan (Capitan (March)), holograph (pencil); arranged for band; also included: El capitan : march / John Philip Sousa--[United States] : John Church Co., [19--], 1900s.

Box 109

Sousa, John Philip, 1854-1932, The stars and stripes forever (Stars and stripes forever), originally for band; duration: circa 4:30 min; scores marked by Leopold Stokowski; markings include phrasing and dynamics; one score has photocopied pages inserted in order to avoid paging back for repeats; parts included 3 manuscript percussion parts, circa 1971.

Box 75

Star-spangled banner (Song), Star spangled banner, key of B♭ major; set of scores and parts consisting of: 3 copyist's manuscript scores (2 ink, 1 pencil); 62 copyist's manuscript parts; one score contains revisions in red ink by Leopold Stokowski; these revisions have been incorporated into the other two scores; parts marked for performance by orchestra musicians, 1900s.

Box 80

Star-spangled banner (Song), The star-spangled banner, key of G major; set of scores and parts consisting of: 4 holograph scores (1 inks, 3 photocopies); 1 Broude score (pl. no.: A.B. 247-4); 67 Tetra parts; 80 manuscript parts; also included: 1 galley proof for the published score with Stokowski's corrections; 1 style sheet of the 1st two bars in Stokowski's hand illustrating the layout for the score; holograph contains revisions in red pencil; it also bears a copyright statement, "c1963 by Henmar Press, Inc." which is circled and marked "no;" Broude score marked by Leopold Stokowski; parts marked for performance by orchestra musicians, 1969.

Box 80

Stokowski, Leopold, 1882-1977, Adoramus te (Adoramus te), originally for mixed chorus (SATB); caption title; attribution to Palestrina is erroneous; set of scores and parts consisting of: 1 pencil holograph; 2 ink copy's manuscript; 1 G. Schirmer & 1 Novello score of the original motet; 91 photoreproductions of manuscript parts; both copyist manuscript scores contain revisions and performance markings by Leopold Stokowski; both published scores contain preliminary notations for orchestration; the Novello score also includes the motet Jesus dulcis by Victoria also marked up for orchestration; parts marked for performance by orchestra musicians; markings include bowings; shelved with printed version published by Broude Brothers, [1934].

Box 61

Stokowski, Leopold, 1882-1977, Benedicite omnia opera (Benedicite omnia opera), for SATB choir with organ accompaniment; score marked by Leopold Stokowski with indications in the accompaniment for orchestration, English words, circa 1947.

Box 81

Stokowski, Leopold, 1882-1977, Benedicite omnia opera : a short, simple setting (Benedicite omnia opera), for SATB choir with organ accompaniment; also included: a score for another setting of the same text by Harvey Grace (Novello: 16312); score marked by Leopold Stokowski; markings include performance markings in red (dynamics and articulations) and editorial revisions in black pencil; also, the final 8 bars beginning with the text "Glory be to the Father" are crossed out with the notation "See attached mss.;" the corresponding measures in the Harvey Grace setting are marked "Add," English words, circa 1908.

Box 81

Stokowski, Leopold, 1882-1977, Dithyramb (Dithyramb), for flute, harp, and violoncello; holograph (pencil); duration: 9 min; also includes: manuscript score prepared from the holograph in 1984 by Edwin E. Heilakka, 1900s.

Box 81

Stokowski, Leopold, 1882-1977, March (Processional hymn (March) (Sketches)), sketches in condensed and full score format adapted from the composer's Processional hymn; caption title; written in blue ink with revisions in red crayon; also includes: 1 photocopy of the score of Processional hymn, [1977].

Box 81

Stokowski, Leopold, 1882-1977, March Valse (March), caption titles; holograph (ink), 1900s.

Box 83

Stokowski, Leopold, 1882-1977, Negro rapsody (Vocal rhapsodie), for unaccompanied vocal octet (soprano, 2 mezzo-sopranos, contralto, 2 tenors, baritone, and bass); based on the spirituals Deep river and Sometimes I feel like a motherless child; 1 holograph (pencil); 1 copyist's manuscript (mimeographed) with the title Vocal rhapsodie); 7 p. of holograph sketches (pencil); holograph score contains several revisions in the form of cuts; copyist's manuscript score contains added tempo changes written in pencil; also includes photocopy of score on which annotations were made, English words, 1900s.

Box 81

Stokowski, Leopold, 1882-1977, Our United States : a song of the nation : for voice & piano or for massed singing (Our United States), cover title; "The music of this song, considerably enriched by Mr. Stokowski in arrangement and harmony, was used as the National song of the Transvaal Republic in South Africa"--lyricist's note on cover, circa 1926.

Box 80

Stokowski, Leopold, 1882-1977, Ouverture, La joie de vivre : transcription pour piano et violin (Joie de vivre), holograph (ink), circa 1900s.

Box 83

Stokowski, Leopold, 1882-1977, Pianissimo amen (Pianissimo amen), for unaccompanied SATB chorus; caption title; set of scores consisting of: 1 pencil holograph close score; 2 blue ink holograph scores; 14 copyist's manuscript scores; 2 H.W. Gray published scores (pl. no.: C.M.R. 3060- (2)); close score is without text and includes sketch material; two of the copyist's manuscript scores and both of the H.W. Gray scores contain Stokowski's performance markings; the H.W. Gray scores also includes Amen by Jack H. Ossewaarde, circa 1969.

Box 81

Stokowski, Leopold, 1882-1977, Processional hymn, photocopy; caption title; score marked by Leopold Stokowski, English words, circa 1908.

Box 81

Stokowski, Leopold, 1882-1977, Reverie par slavici : orchestre á cordes (Reverie par slavici), for string orchestra, based on the composer's keyboard work Tristesse; copyist's manuscript; score contains performance markings by Leopold Stokowski; markings include phrasing and dynamics; parts marked for performance by orchestra musicians; also includes photocopy of score on which annotations were made, 1900s.

Box 81

Stokowski, Leopold, 1882-1977, Suite (Suite), caption title; 3 sets of holograph ink sketches, 2 are in condensed score format, the 3rd in full score, 1900s.

Box 83

Stokowski, Leopold, 1882-1977, Symphony, caption title; manuscript score (pencil) prepared by Edwin Heilakka from the original parts; the 1st flute and timpani parts are also reconstructions; parts marked for performance by orchestra musicians, 1900s.

Box 82 & 110

Stokowski, Leopold, 1882-1977, The children's Christmas story : 6th version, script and music for a Christmas pageant; the script is in typescript and includes narration, stage and lighting directions, and musical cues; there are additional markings on the script in Stokowski's hand; the music consists of traditional Christmas music arranged for SATB chorus, 1900s.

Box 76

Stokowski, Leopold, 1882-1977, The war god (War god), song for baritone and piano; copyist's manuscript; score is in the key of A minor; also included is a single leaf of the 1st 11 bars transposed into B minor, English words, 1900s.

Box 83

Stokowski, Leopold, 1882-1977, Themes and sketches (Sketches), title from cover of manuscript book; the manuscript book contains 8 pages of sketches, the remainder is blank, 1900s.

Box 83

Stokowski, Leopold, 1882-1977, Tristesse (Tristesse), for keyboard instrument; caption title; holograph (ink with revisions in pencil), 1900s.

Box 81

Stokowski, Leopold, 1882-1977, Two songs from Tennyson's "Queen Mary" (Songs from Tennyson's "Queen Mary"), for voice and piano; holographs (ink), English words, 1900s.

Box 83

Stokowski, Leopold, 1882-1977, Vision : for orchestra (Vision), holograph (pencil), 1900s.

Box 81

Stokowski, Leopold, 1882-1977, When Christ was born : Christmas carol for mixed voices (When Christ was born), for mixed voices (SATB) with organ; score contains performance markings by Leopold Stokowski including a revised final cadence, English words, circa 1954.

Box 81

Stokowski, Sonya, Happy thoughts (Happy thoughts), caption title from score; set of scores and parts consisting of: 1 arranger's holograph score (pencil); 34 copyist's manuscript parts (ink); number written on bottom of score & parts: WB 962; score contains performance markings by Leopold Stokowski, circa 1935.

Box 78

Strauss, Johann, 1825-1899, Fledermaus valse (Du und du (Waltz)), operetta excerpt reorchestrated by Leopold Stokowski; caption title; set of scores and parts consisting of: 1 pencil holograph score; 1 ink holograph condensed score; 93 copyist's manuscript parts; condensed score contains performance markings by Stokowski, 1900s.

Box 85

Strauss, Johann, 1825-1899, Geschichten aus dem Wiener-Wald : short version (G'schichten aus dem Wienerwald), holograph (pencil with some ink); laid in brown Bristol board covers; key of D major; contains performance markings by Leopold Stokowski; markings include durations, phrasing, dynamics, and tempo indications, 1900s.

Box 111

Strauss, Johann, 1825-1899, Geschichten aus dem Wiener-Wald : short version (G'schichten aus dem Wienerwald), set of scores and parts consisting of: 2 holograph scores (one pencil, one ink); 1 copyist's manuscript score (ink); 78 manuscript parts; the holographs are bound in brown Bristol board; the copyist's manuscript is bound in blue board covers; key of C major; scores are marked by Leopold Stokowski; markings include duration, cuts, phrasing, dynamics, tempo indications, and cuts and other revisions; parts marked for performance by orchestra musicians, 1900s.

Box 86 & 111

Strauss, Johann, 1825-1899, Künstlerleben : valse (Künstlerleben), reorchestrated by Leopold Stokowski; caption title; copyist's manuscript; laid in brown Bristol board, 1900s.

Box 111

Strauss, Johann, 1825-1899, The blue Danube : valse, op. 314 (An der schönen, blauen Donau), set of scores and parts consisting of: 2 holograph scores (1 ink, 1 pencil); 41 Kalmus parts; 8 manuscript parts; scores and parts are marked with a cues for a shorter version; the ink score contains revisions and performance markings by Leopold Stokowski including dynamics, articulations, phrasing, and a few bowings, 1900s.

Box 84

Stravinsky, Igor, 1882-1971, Pastorale (Pastorale), arranged for solo violin, oboe, English horn, clarinet, bassoon, and strings; copyist's manuscript (ink); score contains performance markings by Leopold Stokowski; markings include dynamics and tempo indications; parts marked for performance by orchestra musicians; markings include bowings, 1900s.

Box 87

Sur le pont d'Avignon, French folk song arranged for 6 horns, 4 trumpets, 3 trombones, and military drum by Leopold Stokowski; caption title; set of scores and parts consisting of: 1 pencil holograph score; 12 copyist's manuscript parts, 1900s.

Box 78

Tchaikovsky, Peter Ilich, 1840-1893, Andante cantabile : for orchestra (Quartets, no. 1, op.11, D major, Andante cantabile), arranged for string orchestra; set of score and parts consisting of: 1 holograph score (ink); 35 copyist's manuscript parts; score contains indications for additional woodwind and brass parts written in upper margins; parts marked for performance by orchestra musicians, 1900s.

Box 87

Tchaikovsky, Peter Ilich, 1840-1893, At the ball (Romansy, op. 38, Sredʹ shumnogo bala), for voice and orchestra; accompaniment originally for piano; set of scores and parts consisting of: 1 copyist's manuscript score (ink); 1 holograph score (pencil); 1 Muzgiz score of the original version (pl. no.: M. 25918 G.); 4 pages of holograph sketches (ink); 27 copyist's manuscript parts (ink); also included: 1 sheet (typewritten on blue paper) of English lyrics differing from those used in the transcription; title on cover of holograph score: In mitten [i.e. Inmitten] des Balles; copyist's manuscript score contains some revisions in red ink; parts marked for performance by orchestra musicians, English words translated from the original Russian, [1977].

Box 87

Tchaikovsky, Peter Ilich, 1840-1893, Barcarolle, op. 37 (Vremena goda, Ii︠u︡n), sketches for an apparently uncompleted orchestral transcription by Leopold Stokowski; originally for piano; 1 pencil sketch of orchestration for the 1st four bars; 1 photocopy of the original piano version (publisher unknown; pl. no. P.1010.) containing Stokowski's preliminary notations for orchestration in pencil; title from piano version, 1900s.

Box 89

Tchaikovsky, Peter Ilich, 1840-1893, Berceuse (Romansy, op. 16, Spi, diti︠a︡ moe), for voice and orchestra; accompaniment originally for piano; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 20 copyist's manuscript parts (ink); ink score contains revisions and a few performance markings by Stokowski; parts marked for performance by orchestra musicians, English text translated from the original Russian, 1900s.

Box 89

Tchaikovsky, Peter Ilich, 1840-1893, Chant sans paroles (Pʹesy sredneĭ trudnosti, Pesenka bez slov), originally for piano; copyist's manuscript (ink); string parts are mimeographed copies; score contains performance markings by Leopold Stokowski; markings include tempo indications; parts marked for performance by orchestra musicians; markings include some bowings, 1900s.

Box 90

Tchaikovsky, Peter Ilich, 1840-1893, Cherubim song : hymn to the Trinity (Kheruvimskai︠a︡ pesnʹ, no. 3), for unaccompanied SSAATB choir; set of scores and parts consisting of: 1 H.W. Gray score (pl. no.: C.M.R. 2351-(11)); 1 arranger's holograph score (ink); 28 copyist's manuscript scores (ink); 1 photocopy of a published version of the original version (pl. no.: 6623; publisher unidentified); one copyist's manuscript score contains performance markings by Stokowski; a second copy is marked "conductor" and is includes a duration marking of 2 1/2 minutes; the remaining copies contain performance markings by choir members, circa 1954.

Box 88

Tchaikovsky, Peter Ilich, 1840-1893, Eugen Onegin : Letter scene (Evgeniĭ Onegin, St︠s︡ena pisʹma), opera excerpt for soprano and orchestra; arranged by Leopold Stokowski; copyist's manuscript (ink); string parts are photoreproductions; includes 5 negative masters for the string parts; score contains performance markings by Leopold Stokowski; markings include tempo indications; dynamics, articulations, a few bowings, and revisions in the form of doublings; parts marked for performance by orchestra musicians, German words translated from the original Russian, 1900s.

Box 90

Tchaikovsky, Peter Ilich, 1840-1893, He truly loved me so (Romansy, op. 28, On tak meni︠a︡ li︠u︡bil), for voice and orchestra; accompaniment originally for piano; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 36 copyist's manuscript parts (ink); caption title from copyist's manuscript; cover title on holograph: Sie liebte mich so sehr = He truly loves me; parts marked for performance by orchestra musicians, English words translated from the original Russian, 1900s.

Box 91

Tchaikovsky, Peter Ilich, 1840-1893, Humoresque (Morceaux, op. 10, Humoresque), originally for piano solo; orchestrated by Leopold Stokowski; set of scores and parts consisting of: 1 holograph score (pencil); 1 photocopy of holograph; 48 copyist's manuscript parts (ink); holograph contains performance markings by Stokowski; parts marked for performance by orchestra musicians; also includes photocopy of score on which annotations were made, 1900s.

Box 91

Tchaikovsky, Peter Ilich, 1840-1893, Solitude : for orchestra (Romansy, op. 73, Snova, kak prezhde), originally for voice and piano; transcribed for symphonic orchestra by Leopold Stokowski; set of scores and parts consisting of: 1 holograph score (ink); 1 photocopy of the holograph; 87 copyist's manuscript parts (ink); holograph contains portraits of the composer, along with a typescript English translation of the original song text by D.M. Rathaus; also included: a photocopy of a Muzyka edition of the original version for voice and piano; both scores contain Stokowski's performance markings; also included: photocopy of manuscript score on which annotations were made, 1900s.

Box 91

Two ancient liturgical melodies, set of scores and parts consisting of: 1 pencil holograph score; 1 copyist's manuscript ink score (bound in brown Bristol board); 96 copyist's manuscript parts (string parts are photoreproductions); copyist's manuscript contains revisions and performance markings by Leopold Stokowski; parts marked for performance by orchestra musicians, 1900s.

Box 77

Victoria, Tomás Luis de, approximately 1548-1611, Jesus dulcis memoria : (motet)cVictoria-Stokowski (Jesu dulcis memoria), originally for unaccompanied 4-part chorus; arranged for symphony orchestra by Leopold Stokowski; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (Ozalid copy); 69 copyist's manuscript parts (ink); 1 G. Schirmer score of the original choral version (pl. no.: 22635); also included: 5 master transparencies for the string parts; caption title from holograph; copyist's manuscript contains Stokowski's performance markings; G. Schirmer score contains Stokowski's preliminary notations for orchestration; parts marked for performance by orchestra musicians, 1900s.

Box 109

Vivaldi, Antonio, 1678-1741, Concerto grosso : L'estro armonico (Estro armonico, N. 11), originally for 2 violins, violoncello, string orchestra, and continuo; arranged for full orchestra by Leopold Stokowski; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 83 manuscript parts (ink); caption title from holograph; both scores are bound in brown Bristol board; both scores contain revisions in blue ink and performance markings in red crayon by Leopold Stokowski; parts marked for performance by orchestra musicians, 1900s.

Box 92 & 112

Wade, John Francis, 1711 or 12-1786, Adeste fideles What child is this? (Adeste fideles), Christmas carols arranged for orchestra by Leopold Stokowski; caption titles; set of scores and parts consisting of: 2 pencil holograph scores (one for each carol); 77 manuscript parts; parts marked for performance by orchestra musicians.

Box 77

Wagner, J. F ((Josef Franz), 1856-1908, Double eagle (Unter dem Doppeladler), holograph (pencil); arranged for band; also included: Under the double eagle : march / J.F. Wagner; arr. by L.P. Laurendeau -- New York : Carl Fischer, [19--] D♭ piccolo; 1st flute and C piccolo parts, 1900s.

Box 93

Wagner, Richard, 1813-1883, Brunnhilde's immolation (Ring des Nibelungen, Götterdämmerung; Brünnhildes Schlussgesang), opera excerpt arranged by Leopold Stokowski; caption title from score; "Gotterdammerung no. 3"--label on cover of score; set of score and parts consisting of: 1 copyist's manuscript score (ink); 1 set of 97 parts, many of which are published by Schott (pl. no.: 25092), others are manuscript parts, and some are hybrids created from both published and manuscript parts; score is bound in brown Bristol board; score is marked by Leopold Stokowski; markings include phrasing, dynamics, tempo indications, articulations, some bowings, and revisions including doublings and cuts; parts marked for performance by orchestra musicians, 1900s.

Box 101 & 116

Wagner, Richard, 1813-1883, Das Rheingold (Ring des Nibelungen, Rheingold; Weiche, Wotan! Weiche!), opera excerpt for contralto, bass, and orchestra; copyist's manuscript (ink); string parts are mimeographed copies; one score marked for performance by Leopold Stokowski; markings include doublings, bowings, tempo indications, and one cut; parts marked for performance by orchestra musicians; markings include bowings, 1900s.

Box 95 & 113

Wagner, Richard, 1813-1883, Excerpt from 3rd Act, Parsifal (Parsifal, 3 Aufzug), opera excerpt consisting of the transformation music from the 3rd act of Parsifal; title from label on cover of score; copyist's manuscript (ink); score laid in brown Bristol board cover; score marked in pencil and red ink by Leopold Stokowski; markings include bowings, articulations, tempo indications, dynamics, and a few revisions including an added final cadence; parts marked for performance by orchestra musicians, 1900s.

Box 93

Wagner, Richard, 1813-1883, Extract from the 3rd act of Siegfried (Ring des Nibelungen, 3 Aufzug, Siegfried), Interlude between the 2nd and 3rd scenes of Act 3 of the opera; copyist's manuscript (ink); both scores are laid in brown Bristol board covers; one score contains revisions in red ink by Leopold Stokowski; parts marked for performance by orchestra musicians, 1900s.

Box 100, 115 & 115a

Wagner, Richard, 1813-1883, Götterdämmerung (Ring des Nibelungen, Götterdämmerung; Siegfrieds Rheinfahrt), opera excerpt arranged by Leopold Stokowski; caption title; set of scores and parts consisting of: 1 copyist's manuscript ink score; 2 Schott scores of the Engelbert Humperdinck arrangement (pl. no.: 24949); 93 manuscript parts; 2 Schott harp parts; also included: an envelope of manuscript inserts to be attached to parts; scores marked for performance by Leopold Stokowski; markings include durations, phrasing, dynamics, articulations, tempo indications; bowings are marked in the Schott scores; parts marked for performance by orchestra musicians, 1900s.

Box 102 & 116

Wagner, Richard, 1813-1883, Love music from the 2nd & 3rd acts of Tristan und Isolde : short version (Tristan und Isolde), opera excerpts arranged for orchestra; set of scores and parts consisting of: 2 copyist's manuscript ink scores (one containing an additional [3] page pencil manuscript score of an alternate ending); 86 ink manuscript parts; also included: 2 unbound photocopies of the 76 page score, one positive, one negative; typescript program note, presumably by Leopold Stokowski pasted to inside cover of the 76 page score; one score marked for performance by Stokowski; markings include durations, dynamics, phrasing, articulations, and tempo indications; parts marked for performance by orchestra musicians, 1900s.

Box 103 & 117

Wagner, Richard, 1813-1883, Majic [sic] fire music (Ring des Nibelungen, Walküre; Leb' wohl, du kühnes, herrliches Kind'), erased on title page: Finale from Die Walkure / symphonic transcription by Leopold Stokowski; opera excerpt arranged for soprano, bass and orchestra; or soprano and orchestra with the bass part arranged for trombone; holograph score (pencil); copyist's manuscript parts (ink); program note clipping pasted on inside cover and title page; score marked for performance by Leopold Stokowski; markings include phrasing, tempo indications, articulations, cuts, and some bowings; parts marked for performance by orchestra musicians, 1900s.

Box 97 & 114

Wagner, Richard, 1813-1883, Parsifal (Parsifal, 1 Aufzug), opera excerpts arranged for orchestra; pencil copyist's manuscript score, marked by Leopold Stokowski; copyist's manuscript parts marked for performance by orchestra musicians; also included: photocopy of manuscript score, 1900s.

Box 93 & 94

Wagner, Richard, 1813-1883, Parsifal : scenes from Act 3 (Parsifal, 3 Aufzug), opera excerpts arranged for orchestra with SATB chorus; holograph (pencil & ink); crossed out on title page: Arranged by Leopold Stokowski; typescript plot synopsis pasted to title page; score marked for performance by Leopold Stokowski; markings include duration, phrasing, dynamics, articulations, and tempo indications; parts marked for performance by orchestra musicians; markings include bowings, 1900s.

Box 93 & 94

Wagner, Richard, 1813-1883, Rheingold (Ring des Nibelungen, Rheingold; Vorspiel), opera excerpt; title from label on cover; set of scores and parts consisting of: 1 pencil holograph score; 1 incomplete ink copyist's manuscript score; 93 manuscript parts; holograph laid in brown Bristol board cover; parts marked for performance by orchestra musicians, 1900s.

Box 96 & 113

Wagner, Richard, 1813-1883, Rheingold (Ring des Nibelungen, Rheingold; Wohlan, die Nibelungen rief ich mir nah'), opera excerpt arranged for orchestra; title from label on cover; copyist's manuscript (ink); one score is marked for performance by Leopold Stokowski; markings include dynamics, phrasing, durations, tempo indications, and articulations; parts marked for performance by orchestra musicians, 1900s.

Box 96 & 113

Wagner, Richard, 1813-1883, Rheingold : 3rd mov[ement] (Ring des Nibelungen, Rheingold; Weiche, Wotan! Weiche!), opera excerpt arranged for orchestra; holograph score (pencil); copyist's manuscript parts (ink); parts marked for performance by orchestra musicians; markings include bowings, 1900s.

Box 95 & 113

Wagner, Richard, 1813-1883, Siefrieds death and funeral music (Ring des Nibelungen, Götterdämmerung; Trauermarsch), opera excerpt arranged for full orchestra; caption title; Crossed out under title: freely transcribed for orchestra [by Leopold Stokowski]; copyist's manuscript; also included: holograph and copyist's manuscript scores (both pencil) of an alternate ending for this arrangement; 1 photocopy of the complete score; score marked for performance by Leopold Stokowski; markings include duration, cuts in orchestration, dynamics, articulations, and phrasing; parts marked for performance by orchestra musicians; markings include bowings, 1900s.

Box 102, 115, & 116

Wagner, Richard, 1813-1883, Siegfried : 1st movement : Forging song (Ring des Nibelungen, Siegfried; Nothung! Nothung! Neidliches Schwert!), for tenor and orchestra; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 86 manuscript parts; ink score marked for performance by Leopold Stokowski; parts marked for performance by orchestra musicians, German words.

Box 99, 115 & 116

Wagner, Richard, 1813-1883, Siegried : 4th movement (Ring des Nibelungen, 3 Aufzug; 3 Szene, Siegfried), opera excerpt arranged for orchestra; caption title; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 100 copyist's manuscript parts (ink); parts marked for performance by orchestra musicians, 1900s.

Box 100, 115 & 116

Wagner, Richard, 1813-1883, Tristan : Liebesnacht (Tristan und Isolde), opera excerpts arranged for orchestra; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 97 manuscript parts; title from label on cover of holograph; the holograph includes an additional 10 pages of music that do not appear in the ink score; both scores are laid in brown Bristol board covers; ink score marked for performance by Leopold Stokowski in red crayon; markings include duration, phrasing, dynamics, articulations, bowings, and tempo indications; there are also revisions in orchestration marked in pencil; parts marked for performance by orchestra musicians, 1900s.

Box 104 & 118

Wagner, Richard, 1813-1883, Walkure : 1st movement (Ring des Nibelungen, Walküre), opera excerpt arranged for orchestra; set of scores and parts consisting of: 1 holograph score (pencil); 1 copyist's manuscript score (ink); 59 manuscript parts; parts marked for performance by orchestra musicians, 1900s.

Box 98 & 114

Wagner, Richard, 1813-1883, Walkure : 3rd movement (Ring des Nibelungen, Walküre), opera excerpt arranged for orchestra; holograph score (pencil); copyist's manuscript parts (ink); parts marked for performance by orchestra musicians, 1900s.

Box 98 & 114

Weber, Carl Maria von, 1786-1826, Invitation to the dance (Aufforderung zum Tanze), originally for piano; title from label on cover; score is photocopied from the holograph; score is laid in brown Bristol board cover; portrait of the composer pasted on 1st page of score; score marked by Leopold Stokowski; markings include dynamics, durations, tempo indications, and one small cut; parts marked for performance by orchestra musicians; also included: photocopy of manuscript score on which annotations were made, 1900s.

Box 105

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