Eric Moe Collection, 1976-, UA.90.F96, University Archives, Archives & Special Collections, University of Pittsburgh Library System
Eric Moe (1954- ) is professor of Composition and Music Theory at the University of Pittsburgh, director of the University of Pittsburgh Electroacoustic Music Studio, and co-director of the Music on the Edge new music concert series. He studied composition at Princeton University (A.B.), and the University of California at Berkeley (M.A., Ph.D.). Moe founded the Ph.D. program in Composition/Theory in the Music Department at the University of Pittsburgh.
Moe was a founding member of EARPLAY, a new music ensemble based in San Francisco, CA. He is known as a composer and pianist and has received wide recognition for his work including the Lakond Award from the American Academy of Arts and Letters and a Guggenheim Fellowship. He has been commissioned by the Pittsburgh Symphony Orchestra, the Fromm Foundation, the Koussevitzky Foundation, the Barlow Endowment, and Meet-the-Composer USA.
In addition, Moe earned fellowships from the Wellesley Composer's Conference and the Pennsylvania Council on the Arts, as well as residencies at the MacDowell Colony, Yaddo, Bellagio, the Virginia Center for the Creative Arts, the Millay Colony, the Ragdale Foundation, the Montana Artists Refuge, the Carson McCullers Center for Writers and Musicians, and the American Dance Festival.
From 1981 to 1989, he served on the faculty of the San Francisco State University, and also at the University of California, Santa Cruz (1980-1981). He holds the PhD (1982) and MA (1978) in composition from the University of California, Berkeley, and the A.B. in Music from Princeton University (1978).
The collection contains manuscripts and computer-generated scores of musical sketches and compositions by Moe, dated from 1976 and on. In some cases, compositions include individual pages that Moe revised during the composition process.
Materials are listed here and arranged chronologically by the year of composition. Because items were acquired at different times, some box numbers may appear out of sequence in the following Contents List.
Unless otherwise noted, there is one copy of each item listed.
ULS Archives & Special Collections, February 2014
University of Pittsburgh Library SystemNo restrictions.
New material is expected to be donated on an ongoing basis.
This collection was processed by librarians and staff of the Theodore M. Finney Music Library beginning in 2005, and is on-going. The guide to this collection was completed in April 2011 by Amy Welch, a graduate student at the University of Pittsburgh, School of Information Science and Pitt Partners Program Intern (2010-2011), and James P. Cassaro, Head of the Theodore M. Finney Music Library. It incorporates previous inventories done by David King in 2003, and another earlier inventory written by Music Library staff. It was entered into Archivists' Toolkit by William Daw and Ed Galloway.
Eric Moe Collection, 1976-, UA.90.F96, University Archives, Archives Service Center, University of Pittsburgh
Scope and Content Notes Instrumentation: For Orchestra: Piccolo, 2 Flutes, 2 Oboes, English Horn, 2 Clarinets, 2 Bassoons, Contrabassoon, 4 Horns, 2 Trumpets (in C), 2 Trombones, Bass Trombone/Tuba, Timpani, Tom-Tom, Xylophone, Harp, 2 Violins, Violas, ‘Celli, Contrbass. Dedication: Dedicated to Michael Senturia and the U.C. Berkeley Orchestra At end: “Berkeley, California 12/1/76” Notes: “Note: This piece was commissioned; one of the conditions was that it not exceed 2 minutes in length. hence the brevity of the work.” | ||||||||||||||
| 1. Full score. Ozalid-printed score. 9 pages. | ||||||||||||||
| 2. Full score. Ozalid-printed score. Spiral-bound. 9 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Clarinet, Cello, Piano. Dedication: Edwin Dugger | ||||||||||||||
| 1. Full score. Composer’s ozalid draft with paste-over corrections on clarinet part (transposition) and crossed-out sections. Bound. | ||||||||||||||
| 2. Composer’s ozalid draft with pencil corrections. Bound. | ||||||||||||||
| 3. Composer’s ozalid draft with paste-over corrections, crossed-out sections, red marker corrections on cello part. Bound. | ||||||||||||||
| 4. Composer’s ozalid holograph with no corrections. Bound. 5 copies. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, B-flat bass clarinet, B-flat trumpet, Vibraphone/Piano, Violin, Viola, Violoncello Dedication: Walter Winslow Note: Subtitle: Swirls to Pine. | ||||||||||||||
| 1. Flute part (unlabeled). Composer’s ozalid score. | ||||||||||||||
| 2. B-flat bass clarinet part. Composer’s ozalid score. | ||||||||||||||
| 3. B-flat trumpet part. Composer’s ozalid score. | ||||||||||||||
| 4. Vibraphone/piano part. Composer’s ozalid score. | ||||||||||||||
| 5. Violin part. Composer’s ozalid score. | ||||||||||||||
| 6. Viola part (unlabeled). Composer’s ozalid score. | ||||||||||||||
| 7. ‘Cello part. Composer’s ozalid score. | ||||||||||||||
| 8. Full score. Composer’s ozalid draft with paste-over correction and pencil corrections. | ||||||||||||||
| 9. Full score. Composer’s ozalid draft with pencil corrections & list of errata written on back cover. | ||||||||||||||
| 10. Full score. Composer’s ozalid score with no corrections. 2 copies. | ||||||||||||||
Scope and Content Notes Instrumentation: Cello Dedication: Cathy Allen At end: “12/2/79” Notes: Subtitle: Hommage à S. Beckmesser | ||||||||||||||
| 1. Cello part. Composer’s holograph with title caption and performance notes placed at bottom of pages. 5 copies. | ||||||||||||||
| 2. Cello part. Composer’s holograph with title page and performance notes page. Missing page 4. 1 copy. | ||||||||||||||
| 3. Autograph manuscript sketches. 22 leaves. 9 blank. | ||||||||||||||
Scope and Content Notes Instrumentation: Soprano, Violin, Viola, Horn in F sharp, Bassoon, Harp, Guitar, Piano Dedication: Dedicated, with gratitude, to Claudio Spies At end: I. “Berkeley, CA 3/21/79” III. “7/6/79 Berkeley, California on my father’s 50th birthday” IV. “March 13, 1980/Berkeley, California” Notes: Four movements: I. They free from me, based on text by Sir Thomas Wyatt. (Instruments: violin, viola, horn in F, bassoon, soprano, harp, guitar and piano). II. The Madman’s Song, based on text by John Webster. (Instruments: violin, horn, voice and piano.) III. Slow, Slow, Fresh Fount, based on text by Ben Jonson. (Instruments: voice, harp, guitar and piano.) IV. Queen and Huntress, based on text by Ben Jonson. (Instruments: violin, viola, horn, bassoon, mezzo soprano, harp, guitar and piano.) | ||||||||||||||
| 1. Violin part. Composer’s holograph on yellow staff paper. | ||||||||||||||
| 2. Viola part. Composer’s holograph on yellow staff paper. | ||||||||||||||
| 3. Horn in F sharp part. Composer’s holograph on yellow staff paper. | ||||||||||||||
| 4. Bassoon part. Composer’s holograph on yellow staff paper. | ||||||||||||||
| 5. Bassoon part. Composer’s holograph on ozalid. | ||||||||||||||
| 6. Harp part. Composer’s holograph on yellow staff paper. | ||||||||||||||
| 7. Guitar part. Composer’s holograph on yellow staff paper. | ||||||||||||||
| 8. Piano part. Composer’s holograph on yellow staff paper. | ||||||||||||||
| 9. Sketches for movements I to III. Composer’s holograph on yellow staff paper. | ||||||||||||||
| 10. Full score. Drafts for movements I to IV. Composer’s holograph on yellow staff ` | ||||||||||||||
| 11. Photocopy of autograph manuscript score of “Slow, Slow Fresh Fount” with pen and pencil corrections. 21 pages. 3 copies, 1 with corrections for each instrument (voice, viola, piano). | ||||||||||||||
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| 2. Full score. Copy of autograph manuscript score. | ||||||||||||||
| 3. Full score. Copy of autograph manuscript score. Composer’s name pasted over . Time durations of each piece written in pen. Includes pencil notations.. | ||||||||||||||
| 4. Full score. Ozalid score with pencil corrections. 51 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Piccolo, 2 Flutes, 1 Alto Flute, 2 Oboes, 1 English Horn, 2 Clarinets in B-flat (1 also in E-flat), 1 Bass Clarinet, 2 Bassoons, 1 Contrabassoon, 4 Horns, 2 Trumpets in B-flat, 2 Trombones (tenor and bass), 1 Tuba, 12 or more 1st Violins, 12 or more 2nd Violins, 8 or more Violas, 8 or more Violoncellos, 4 or more Contra-Basses (at least 2 with C extension), Percussion. Dedication: “for our parents” Notes: Libretto by Keith Moe, after story by Ryunosuke Akutagawa. | ||||||||||||||
| 1. Full score. Autograph manuscript holograph. 60 pages. | ||||||||||||||
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| 1. Full score. Autograph manuscript score. Includes Performance Notes page. 5 copies. | ||||||||||||||
| 2. Copy of autograph manuscript score. 19 leaves. 2 copies. | ||||||||||||||
| 3. Full score. Autograph manuscript score. 20 leaves (last one blank) | ||||||||||||||
Scope and Content Notes Instrumentation: Chorus, 2 trumpets in C, 2 horns, 2 trombones (tenor and bass), tuba, pianoforte and percussion. At end: “rev. 11/1984 Rome-San Francisco” | ||||||||||||||
| 1. Autograph manuscript score. Final manuscript. Signed at end. 33 leaves. | ||||||||||||||
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| 2. Bound photocopy of autograph manuscript score. 33 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Piano. Arranged for 4 hands. At end: “EHM arr. Rome/San Francisco 8/23/84” | ||||||||||||||
| 1. Full score. Autograph manuscript score. 27 leaves. 5 blank. | ||||||||||||||
Scope and Content Notes Instrumentation: Voice, piano. Dedication: for Anna Carol Dudley At end: “12/20/1984 Rome/San Francisco” Notes: Subtitle: “On Poems of William Carlos Williams.” Four movements: I. from “Three Nahuatl Poems;” II. Sonnet in Search of an Author; III. Song; IV. Portrait of a Lady | ||||||||||||||
| 1. Full score. Copy of autograph holograph score. Includes texts of the poems. 2 copies. | ||||||||||||||
| 2. Full score. Copy of autograph holograph score. 2 copies. | ||||||||||||||
| 3. Full score. Copy of autograph holograph score. Includes pencil corrections. 24 pages. | ||||||||||||||
| 4. Full score. Autograph manuscript score. 26 leaves. 2 blank. | ||||||||||||||
Scope and Content Notes Instrumentation: Violoncello, Piano Dedication: for Laszlo Varga At end: “San Francisco 3/1/1985” | ||||||||||||||
| 1. Full score. Copy of composer’s score. Spiral bound. Labeled “rev.” 1985 | ||||||||||||||
| 2. Full score. Copy of composer’s score. One labeled “unrevised;” one labeled “old” with composer’s name cut out of cover page & crossed out on first page; one labeled “old, w/revisions in pencil.” 3 copies. | ||||||||||||||
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| 2. Violoncello part. Copy of composer’s holograph. 2 copies. | ||||||||||||||
| 3. Autograph manuscript of theme & sketches. | ||||||||||||||
| 4. Full score. Autograph manuscript holograph. Signed at end. Includes paste-overs. 36 leaves. | ||||||||||||||
| 5. Full score. Autograph manuscript/copied holograph. Includes paste-overs. Note at top: “additional/alternate bowings and fingerings by Laszlo Varga”). | ||||||||||||||
a. “Recorded 3/9/1986, Kurth Hall”—Container. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, B-flat clarinet (doubling Bass Clarinet), Piano Dedication: for Janet Kutulas and Peter Josheff At end: “I/1986 San Francisco” | ||||||||||||||
| 1. Full score. Copy of autograph manuscript holograph. Spiral bound. 4 copies. | ||||||||||||||
| 2. Full score. Copy of autograph manuscript holograph. Spiral bound. Has corrections in pencil and marker. Labeled “Lolly’s notes.” | ||||||||||||||
| 3. Full score. Autograph manuscript holograph. 32 leaves. | ||||||||||||||
| 4. Autograph manuscript sketches. | ||||||||||||||
| 5. Full score. Paste-overs & revisions to select pages. | ||||||||||||||
| 6. Full score. Autograph manuscript draft. Pencil notations. Found in envelope labeled “performance copy - piano.” | ||||||||||||||
| 7. DAT tapes with this composition’s name on label. 3 copies. 7/2/97 | ||||||||||||||
| 8. Letter from recording studio with recording notes and marked score. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute (doubling Piccolo), B-flat Clarinet (doubling Bass Clarinet), B-flat Trumpet, Violin, Violoncello, Contrabass, Baritone, Piano, Percussion. Dedication: for Allen Shearer At end: “San Francisco – January 1987” Note: Based on text by W.B. Yeats | ||||||||||||||
| 1. Text of poem with notes. | ||||||||||||||
| 2. Autograph manuscript sketches. | ||||||||||||||
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| 2. Full score. Copy of autograph manuscript holograph. In envelope labeled “master.” | ||||||||||||||
| 3. Errata sheet. | ||||||||||||||
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| 2. Full score. Copy of autograph manuscript holograph. Spiral bound. Includes performance notes and text by W.B. Yeats. | ||||||||||||||
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| 2. Full score. Copy of autograph manuscript draft. Corrections in red pencil; Includes performance notes & text by W.B. Yeats. | ||||||||||||||
| 3. Piano reduction. Copy of autograph manuscript draft. Corrections in pencil. | ||||||||||||||
Scope and Content Notes Instrumentation: [Electroacoustic, FM Synthesis.] Note: Published as “Songs and Dances of the Automobile: I. Mambo. II. Nocturne. III. 5 Piston Fling.” | ||||||||||||||
| 1. Autograph sketches. In envelope labeled “presto” with additional 4 pages of notes. 4 pages. | ||||||||||||||
| 2. Autograph sketches. In envelope labeled “ballad” with additional 4 pages of notes. 5 pages. | ||||||||||||||
| 3. Full score. Computer generated holograph. 9 pages. | ||||||||||||||
| 4. Autograph sketches. 5 pages. | ||||||||||||||
| 5. Computer-generated notes. 9 pages. | ||||||||||||||
| 6. Autograph manuscript sketches. 10 pages. | ||||||||||||||
| 7. Computer printout and pencil notes. 7 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: 2 Flutes (1 Piccolo), 2 Oboes, 2 Clarinets in B-flat, 1 Bass Clarinet, 2 Bassoons, 4 Horns, 2 Trumpets in C, 2 Tenor/Bass Trombones, 1 Bass Trombone, 1 Tuba, Percussion, Harp, Piano, Violin I & II, Viola, Violoncello, Contrabass. Dedication: For David Sloss and the Fremont-Newark Philharmonic At end: “11/25/1988 MacDowell Colony” | ||||||||||||||
| 1. Full score. Copy of autograph manuscript holograph. 83 pages. Spiral bound. 6 copies. Not bound. 1 copy. | ||||||||||||||
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| 2. Copy of manuscript score. 83 pages. Spiral bound. 2 copies. | ||||||||||||||
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| 2. Full score. Copy of autograph manuscript score. 83 leaves. 2 copies. | ||||||||||||||
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| 2. Photocopy of autograph manuscript score. 83 leaves. Spiral-bound. | ||||||||||||||
Scope and Content Notes Instrumentation: Alto Flute, English Horn, Bass Clarinet, Viola, Piano. Dedication: For the Serge Koussevitzky Music Foundation in the Library of Congress, and dedicated to the memory of Serge and Natalie Koussevitzky At end: “12/7/1988 MacDowell Colony” Dedication: for Carolyn Forman Moe Notes: Three movements. I. Up; II. &; III. At ‘Em. | ||||||||||||||
| 1. Autograph manuscript draft. Movement III. 18 leaves, 9 with draft, 9 with music crossed out. | ||||||||||||||
| 2. Full score. Copy of autograph manuscript draft. 38 pages. Includes pen and pencil corrections. | ||||||||||||||
| 3. Full score. Copy of autograph manuscript draft. 38 pages. Includes pencil notations, possibly performer notes. Includes paste overs. | ||||||||||||||
| 4. Full score. Copy of printed score. Pencil notes & corrections. Errata listed on cover page. | ||||||||||||||
| 5. Full score. Copy of printed score. | ||||||||||||||
| 6. Full score. Computer-generated score. With highlighter and pencil notes, possibly for performance. Includes paste-overs and some notes whited-out. | ||||||||||||||
| 7. Full score. Computer-generated score. 77 pages. 2 copies. | ||||||||||||||
| 8. Individual parts for Bass clarinet (8 pages), English horn (6 pages), Viola (8 pages), Alto Flute (8 pages, last one blank). Autograph manuscript holograph. A different version of Viola/page 6 is also included, plus 3 copied pages of an alternate Viola score. Note on envelope: “beware: page 5 & 6 of both E. horn and viola part are reversed on original.” | ||||||||||||||
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| 2. Alto flute part. Copy of computer-generated score. 11 pages. Spiral bound. | ||||||||||||||
| 3. English horn part. Copy of computer-generated score. 10 pages. Spiral bound. | ||||||||||||||
| 4. Bass clarinet part. Copy of computer-generated score. 13 pages. Spiral bound. | ||||||||||||||
| 5. Viola part. Copy of computer-generated score.17 pages. Spiral bound. | ||||||||||||||
| 6. Full score. Copy of autograph manuscript score. 38 pages. Spiral bound. Includes pen and pencil corrections and paste overs. | ||||||||||||||
| 7. Full score. Copy of autograph manuscript score. 38 pages. Includes pen and pencil corrections and paste-overs. | ||||||||||||||
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| 2. Full score. Copy of autograph manuscript holograph. 11” x 17” paper. Pages 1 and 21 only. | ||||||||||||||
| 3. Full score. Copy of autograph manuscript holograph. 11” x 17” paper. Pages 1 and 10 only. | ||||||||||||||
| 4. Full score. Copy of autograph manuscript holograph. 11” x 17” paper. Some notes whited out. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, Cello, Piano, Percussion. Dedication: for John Swackhamer At end: “10/7/1989 S.F./Pgh.” | ||||||||||||||
| 1. Full score. Autograph manuscript holograph. Includes instrumentation and performance notes. Spiral bound. 5 copies. | ||||||||||||||
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| 2. Full score. Copy of autograph manuscript holograph. 37 pages. | ||||||||||||||
| 3. Full score. Computer-generated score. 75 pages. | ||||||||||||||
| 4. Full score. Computer-generated score. 38 pages. 2 copies. | ||||||||||||||
| 5. Full score. Computer-generated score. 38 pages. Has pencil notations, possibly performance notes. | ||||||||||||||
| 6. Full score. Computer-generated score. 38 pages. Has red pencil notations, possibly performance notes. | ||||||||||||||
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| 2. Autograph manuscript sketches. | ||||||||||||||
| 3. Full score. Copy of autograph manuscript holograph. 35 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: B-flat Clarinet, String Quartet. Dedication: Commissioned by and dedicated to the amateur musicians of the Wellesley Composers’ Conference | ||||||||||||||
| 1. Concert program. The New Music Group. November 7, 1991. | ||||||||||||||
| 2. Full score. Computer-generated score. 45 pages. Spiral bound. 2 copies. | ||||||||||||||
| 3. Full score. Computer-generated score. 48 pages, 1 blank. | ||||||||||||||
| 4. Full score. Computer-generated score. Spiral bound. Pencil notations. 2 copies. | ||||||||||||||
Scope and Content Notes Instrumentation: Electroacoustic music. Note: Incidental music for play performed October 12, 1990, at Southern Illinois University at Carbondale. Director was Christian Moe. | ||||||||||||||
| 1. TX802 and DX7 II computer printout. 2 pages. | ||||||||||||||
| 2. Handwritten notes. Pen and pencil. 8 pages. | ||||||||||||||
| 3. Daily Egyptian newspaper article, October 12, 1990. | ||||||||||||||
| 4. Computer printed verse for play. Pencil notes. 18 pages. | ||||||||||||||
| 5. Rehearsal schedule. 2 pages. | ||||||||||||||
| 6. Music scheme. Pen and pencil corrections. 6 pages. | ||||||||||||||
| 7. Copy of “The Trojan Women” Lattimore translation. 23 pages. | ||||||||||||||
| 8. Copy of “Women of Troy” by Frederick Williams. Stage play. 38 pages. Pencil notes. | ||||||||||||||
| 9. Copy of “Women of Troy” by Frederick Williams. Stage play. 38 pages. Spiral bound. Pencil notes. | ||||||||||||||
| 10. Autograph manuscript sketches. 12 leaves (7 blank). | ||||||||||||||
Scope and Content Notes Instrumentation: Soprano, Alto, Tenor, Bass Dedication: for John Goldsmith and the Bellefield Singers | ||||||||||||||
| 1. Full score. Computer-generated score. Spiral bound. 10 copies. | ||||||||||||||
| 2. Full score. Computer-generated score. 2 copies. 1991 | ||||||||||||||
Scope and Content Notes Instrumentation: Violin, Cello, Piano. Dedication: for the Washington Square Contemporary Music Society | ||||||||||||||
| 1. Full score. Computer-generated score. Includes performance notes page. Spiral bound. 5 copies. | ||||||||||||||
| 2. Full score. Computer-generated score. Spiral bound. Note on cover: “rec. session edits 11/3/97” and pencil notations on score. Includes notes pages. | ||||||||||||||
| 3. Full score. Computer-generated score. 3 copies. | ||||||||||||||
| 4. Full score. Computer-generated score. Pencil notations throughout. | ||||||||||||||
| 5. Full score. Computer-generated score. In envelope labeled “WHF master.” 3 copies. | ||||||||||||||
| 6. Cello part. Computer-generated scpre. Spiral bound. | ||||||||||||||
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| 2. Full score. Computer-generated score. 25 pages. Pasted into artist’s sketchbook. On cover is written “cello” Pen and pencil notations. | ||||||||||||||
Scope and Content Notes Instrumentation: Piano. Dedication: for Alan Feinberg | ||||||||||||||
| 1. Piano score. Computer-generated score. Includes performance notes. 1 spiral-bound copy; 5 additional non-bound copies. | ||||||||||||||
Scope and Content Notes Instrumentation: Oboe and piano. Dedication: for Marcia Butler | ||||||||||||||
| 1. Full score. Computer-generated score. Spiral bound. Includes performance notes. 2 copies. | ||||||||||||||
| 2. Full score. Computer-generated score. Includes performance notes. | ||||||||||||||
| 3. Full score. Computer-generated score. | ||||||||||||||
| 4. Recording notes dated 3/2/95. | ||||||||||||||
Scope and Content Notes Instrumentation: Bass Clarinet and Keyboard Synthesizer (Yamaha DX7 with TX802 tone generator). Dedication: for Tim Smith Commission: Commissioned by Tim Smith Note: Four movements: I. Two-part Contraption; II. Tim’s Tune; III. Double Take; IV. What the Drums Say. | ||||||||||||||
| 1. Full score. Computer-generated score. Spiral bound. Includes drum tuning for 4th movement and performance notes. Note on cover: “rec. editing” with pencil notations on score and editing notes tucked into score. | ||||||||||||||
| 2. Full score. Computer-generated score. Spiral bound. Includes drum tuning for 4th movement and performance notes. 3 copies. | ||||||||||||||
| 3. Full score, 4th movement. Computer-generated score. Includes drum tuning. | ||||||||||||||
| 4. Full score. Computer-generated score pasted onto sheets. 23 pages (missing page 5). | ||||||||||||||
| 5. Extra pages that appear to be from the same score. Published score is 39 pages. | ||||||||||||||
| 6. Concert program from Feb. 6, 1993, that includes “Tip of My Tongue.” Pomona College. | ||||||||||||||
| 7. Full score. Computer-generated score. Possibly performance score due to handwritten notes. | ||||||||||||||
Scope and Content Notes Instruments: [Oboe and piano] Dedication: [for Marcia Butler] Note: Appears in published score “Sad Steps and Fancy Footwork” | ||||||||||||||
| 1. Autograph manuscript sketches. 8 leaves (2 blank). | ||||||||||||||
| 2. Computer-generated draft with pencil corrections. Printed on both sides, sometimes unclear if both sides are for this piece or if one is reused scratch paper. 62 pages. | ||||||||||||||
| 3. Notes on sound recording. Pencil and photocopy. 8 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Piano, Flute, Oboe/English Horn, Clarinet/Bass Clarinet, Bassoon, Horn, Violin I, Violin II, Viola, Violoncello, Percussion. Dedication: for Aleck Karis. Commissioned by: The Fromm Foundation. At end: “7/94 MacDowell Colony” | ||||||||||||||
| 1. Box labeled “K & S Master, drafts other scores”
a. Errata sheet. Handwritten. 2 pages. b. Set-up diagram. Handwritten. 1 page. c. Full score. Computer-generated drafts, Movement 3. d. Full score. Computer-generated drafts with pencil corrections. On some pages, one side appears to be “Kicking and Screaming,” but it is not clear what piece is on the other side. | ||||||||||||||
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| 2. Flute part. Computer-generated score. | ||||||||||||||
| 3. Oboe part. Computer-generated score. | ||||||||||||||
| 4. Clarinet/Bass Clarinet part. Computer-generated score. | ||||||||||||||
| 5. Bassoon part. Computer-generated score. | ||||||||||||||
| 6. Horn part. Computer-generated score. | ||||||||||||||
| 7. Violin I part. Computer-generated score. | ||||||||||||||
| 8. Violin II part. Computer-generated score. | ||||||||||||||
| 9. Viola part. Computer-generated score. | ||||||||||||||
| 10. Violoncello part. Computer-generated score. | ||||||||||||||
| 11. Percussion part. Computer-generated score. | ||||||||||||||
| 12. Sketches. | ||||||||||||||
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| 2. Oboe part. Computer-generated score. Spiral bound. | ||||||||||||||
| 3. Clarinet/Bass Clarinet part. Computer-generated score. Spiral bound. | ||||||||||||||
| 4. Bassoon part. Computer-generated score. Spiral bound. | ||||||||||||||
| 5. Horn part. Computer-generated score. Spiral bound. | ||||||||||||||
| 6. Violin I part. Computer-generated score. Spiral bound. | ||||||||||||||
| 7. Violin II part. Computer-generated score. Spiral bound. | ||||||||||||||
| 8. Viola part. Computer-generated score. Spiral bound. | ||||||||||||||
| 9. Violoncello part. Computer-generated score. Spiral bound. | ||||||||||||||
| 10. Percussion part. Computer-generated score. Spiral bound. | ||||||||||||||
| 11. Piano part. Autograph manuscript holograph. Draft/sketches for Capriccio movement. | ||||||||||||||
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| 2. Full score. Computer-generated draft. Pencil notations. | ||||||||||||||
| 3. Full score. Computer-generated score.105 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Violin, Piano. Dedication: for Roger Zahab. At end: “11/96 MacDowell Colony/Pittsburgh” | ||||||||||||||
| 1. Full score. Computer-generated score. Spiral-bound. Has recording session timing notes and other notations in pencil | ||||||||||||||
| 2. Full score. Computer-generated draft. Pencil corrections. 20 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: 2 Flutes, 1 Piccolo/Flute 3, 2 Oboes, 1 English Horn, 2 Clarinets in B-flat, 1 Bass Clarinet/Clarinet 3, 3 Bassoons, 4 Horns in F, 3 Trumpets in C, 3 Trombones, 1 Tuba, Timpani, 3 Percussion, Harp, Piano, Strings. Dedication: Mariss Jansons and the Pittsburgh Symphony At end: MacDowell Colony August 1996 | ||||||||||||||
| 1. Full score. Computer-generated score. 44 pages, double-sided. Note on cover sheet: “Consoli’s Suggestions.” Notations in pen. | ||||||||||||||
| 2. Full score. Computer-generated draft. 44 pages, double-sided. With copy of handwritten errata sheet. | ||||||||||||||
| 3. Full score. Computer-generated score. 44 pages, single-sided. | ||||||||||||||
| 4. Full score. Computer generated score. 44 pages, double-sided. | ||||||||||||||
| 5. Full score.Computer generated score. 35 pages (11 x 17). | ||||||||||||||
| ||||||||||||||
| 2. Individual parts for Violin I, Violin II, Viola, Violoncello and Contrabass. Computer-generated holograph (11 x 14). 1 copy of each part. | ||||||||||||||
| 3. Full score. Copy of computer-generated draft with handwritten additions (11X17). 3 copies. | ||||||||||||||
| 4. Full score. Copy of computer-generated draft with handwritten additions (11X17). 3 copies. | ||||||||||||||
| ||||||||||||||
| 2. Contract and correspondence with Pittsburgh Symphony re commission. 3 pages. In envelope. | ||||||||||||||
| 3. Full score. Copy of computer-generated score. In envelope. 4 copies. | ||||||||||||||
| 4. Full score. Computer-generated draft. Pen and pencil corrections. 146 pages. | ||||||||||||||
| 5. Full score. Computer-generated score. 44 pages. 2 copies. | ||||||||||||||
| 6. Full score. Computer-generated holograph. 35 pages (8 ½ x 14). Handwritten notation on cover page: “old.” | ||||||||||||||
| 7. Autograph manuscript sketches. 28 leaves (14 blank). | ||||||||||||||
| ||||||||||||||
Scope and Content Notes Instrumentation: Soprano, Flute, Harp. Dedication: for Christine Schadeberg. At end: “MacDowell Colony 7/96” Notes: Three movements: I. The Players ask for a Blessing on the Psalteries and on Themselves (based on text by W.B. Yeats); II. Upon Julia’s Voice (based on text by Robert Herrick); III. Measuring the World (based on text by Erica Funkhouser). | ||||||||||||||
| 1. Full score. Computer-generated drafts. Partial copies. 21 pages. | ||||||||||||||
| 2. Full score. Computer-generated score. 27 pages. | ||||||||||||||
| 3. Individual parts for flute and harp. Computer generated score. | ||||||||||||||
| 4. Erica Funkhouser poem with correspondence from poet. 2 pages. | ||||||||||||||
| 5. Lyrics. 2 pages. | ||||||||||||||
| 6. Notes in pencil. 1 page. | ||||||||||||||
| 7. Full score. Computer-generated draft. Pencil corrections. 11 pages. | ||||||||||||||
| 8. Full score. Computer-generated holograph. Pencil corrections. 7 pages. | ||||||||||||||
| 9. Full score. Computer generated holograph. Pencil corrections. 9 pages. | ||||||||||||||
| 10. Autograph manuscript sketches. 25 leaves (9 blank). | ||||||||||||||
Scope and Content Notes Instrumentation: Flute/Piccolo, Clarinet in A/Bass Clarinet, Violin, Viola, Piano. Dedication: for Lou Karchin and the Washington Square Contemporary Music Ensemble | ||||||||||||||
| 1. Individual Flute/Piccolo part. Spiral bound. 9 pages. | ||||||||||||||
| 2. Full score. Computer-generated score. 46 pages. Handwritten note in upper right corner of title page: “older.” | ||||||||||||||
| 3. Full score. Computer-generated and autograph manuscript dated revised pages. | ||||||||||||||
| 4. Full score. Computer-generated drafts. | ||||||||||||||
| 5. Full score. Computer-generated drafts and dated revised pages. | ||||||||||||||
| 6. Note in pencil. 1 page. | ||||||||||||||
| 7. Autograph manuscript sketches. 40 leaves (21 blank). | ||||||||||||||
Scope and Content Notes Intstrumentation: Viola Dedication: for Cynthia Fogg and Tom Flaherty At end: “The MacDowell Colony, 5/8/97” | ||||||||||||||
| 1. Viola score. Computer-generated sketches and draft. | ||||||||||||||
| 2. Viola score. Computer-generated draft. Pencil notations.7 pages. | ||||||||||||||
| 3. Viola score. Computer-generated draft. Corrections in pencil. | ||||||||||||||
| 4. Viola score. Computer-generated score. 2 copies. | ||||||||||||||
Scope and Content Notes Instrumentation: Piano At end: “MacDowell Colony 5/19/1997” | ||||||||||||||
| 1. Piano score. Computer-generated draft & dated revised pages. | ||||||||||||||
| 2. Piano score. Computer-generated score. 4 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Soprano, Oboe, two Violins, Viola, Cello, Piano. Dedication: for Christine Brandes and J. Karla Lemon in admiration and in friendship Commissioned by: Christine Brandes At end: “10/5/1997 The MacDowell Colony - Pittsburgh” Notes: Based on texts by Rainer Maria Rilke, translated by Stephen Mitchell. Eight movements. | ||||||||||||||
| 1. Full score. Computer-generated score. 116 pages. | ||||||||||||||
| 2. Reduction for Soprano and Piano. Computer-generated score. 2 copies. | ||||||||||||||
| 3. Copies of “The Sonnets to Orpheus” poems. Includes some pencil notations. 15 pages. Computer printouts of poems. Includes pencil notes. 9 pages. Handwritten pencil notes of lyric ideas. | ||||||||||||||
| 4. Autograph manuscript sketches. 79 leaves (30 blank). Computer printed lyric sheets. 3 pages. Interspersed with autograph manuscript pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, Piano. Dedication: for Rachel Rudich At end: “Virginia Center for the Creative Arts 6/27/98” Notes: Two movements: I. Lament; II. Caprice. | ||||||||||||||
| 1. Piano part. Computer-generated draft with corrections in pencil. 20 pages. | ||||||||||||||
| 2. Full score. Computer-generated draft. Pencil corrections. Handwritten note in upper left-hand corner of title page: “old draft.” 35 pages. | ||||||||||||||
| 3. Autograph manuscript sketches. 12 leaves (1 blank) | ||||||||||||||
| 4. Full score. Computer-generated score. Written in pencil on first page: “6/27/98.” 35 pages. | ||||||||||||||
| 5. Flute part. Computer-generated score. 19 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Cello. Notes: Three movements: I. Back in the Saddle; II. The Lone Prairie; III. Heading the Philistines Off at the Pass. | ||||||||||||||
| 1. Cello part. Computer-generated draft. Pencil corrections and alternate titles. Title on page: “Declaration of Independence.” Handwritten notes: “In the Saddle” and “Hot on the Trail.” 6 pages. | ||||||||||||||
| 2. Cello part. Computer-generated draft. Pencil corrections. Handwritten title: “Declaration of Independence.” 8 pages. | ||||||||||||||
| 3. Cello part. Computer-generated draft. Pencil corrections. Handwritten title: “Declaration of Independence.” 8 pages. | ||||||||||||||
| 4. Cello part. Computer-generated draft. Pencil corrections. Handwritten notes: “The Lonely trail” and “The Lone Prairie.” 2 pages. | ||||||||||||||
| 5. Cello part. Computer-generated draft. Pencil corrections. Handwriten notes: “(Shootout w/the Philistines)” and “Heading of the Philistines at the Pass.” 7 pages. | ||||||||||||||
| 6. Autograph manuscript sketches. 14 leaves (7 blank). | ||||||||||||||
Scope and Content Notes Instrumentation: Soprano, Flutes 1 and 2, Oboes 1 and 2, Clarinets 1 and 2 in B-flat, Bass Clarinet, Bassoons 1 and 2, Horns 1 and 2, Trumpets 1 and 2 in B-flat, Percussion, Piano, Strings. Dedication: “for Janet McAdams;” and “For Furious Band” At end:12/5/98 Ragdale Foundation/Claremont CA/Pgh. PA (from published score) Notes: Six movements: I. The Lost Mermaid (McAdams); II. The Sirens (Kafka); III. Beauty, That Lying Bitch (McLain); IV. The Song of the Sirens (Homer, translated by Pope); V. Eyewitness Account (Whitbourne); VI. In the Hour Before Dawn (Dante). | ||||||||||||||
| 1. Autograph manuscript score. Sketches. 32 leaves (11 blank). | ||||||||||||||
| 2. Kafka text. 1 page. | ||||||||||||||
| 3. Printouts of email messages regarding texts and the composition. 5 pages. | ||||||||||||||
| 4. Soprano and Piano reduction. Computer-generated draft.14 pages. Handwritten title: “Beauty, that lying bitch.” With pen and pencil notations. | ||||||||||||||
| 5. Soprano and Piano reduction. Computer-generated draft.5 pages. Handwritten title: “Beauty, that lying bitch.” With pen corrections. | ||||||||||||||
| 6. Soprano and Piano reduction. Computer-generated draft. No title indicated. 12 pages. | ||||||||||||||
| 7. Soprano &and Piano reduction. Computer-generated holograph. 5 pages. Handwritten title: “The Lost Mermaid.” With pencil corrections. | ||||||||||||||
| 8. Soprano and piano reduction. Computer-generated draft. No title listed. 2 pages | ||||||||||||||
| 9. Autograph manuscript sketches. 16 leaves (7 blank). | ||||||||||||||
| 10. Poems/lyrics. 12 pages (4 computer, 7 copies from book, 1 written in pen). | ||||||||||||||
| 11. Soprano and Piano reduction. Computer-generated draft. Pencil notations. 17 pages. | ||||||||||||||
| 12. Poems/lyrics. 36 pages (11 computer generated with pencil notes, 24 copies from books, and 1 in pencil). | ||||||||||||||
| ||||||||||||||
| 2. Soprano and Piano reduction. Computer-generated score. 50 pages. 3 copies. | ||||||||||||||
| 3. Full score. Composer’s computer generated draft with corrections. Instrumentation for this version: Soprano, Flute/Piccolo, B-flat Clarinet, Violin, Cello, Piano. 40 pages. 2 copies. | ||||||||||||||
| 4. Full score. Computer-generated holograph. 133 pages. | ||||||||||||||
| 5. Soprano and Piano reduction. Computer-generated draft. Titles of movements written in pencil, some pencil corrections. | ||||||||||||||
| ||||||||||||||
| 2. Flute 2 part. Computer-generated score. 7 pages. | ||||||||||||||
| 3. Oboe 1 part. Computer-generated score. 7 pages. | ||||||||||||||
| 4. Oboe 2 part. Computer-generated score. 6 pages. | ||||||||||||||
| 5. B-flat Clarinet 1 part. Computer-generated score. 10 pages. | ||||||||||||||
| 6. B-flat Clarinet 2 part. Computer-generated score. 7 pages. | ||||||||||||||
| 7. Bass Clarinet part. Computer-generated score. 6 pages. | ||||||||||||||
| 8. Basson 1 part. Computer-generated score. 9 pages. | ||||||||||||||
| 9. Bassoon 2 part. Computer-generated score. 6 pages. | ||||||||||||||
| 10. Horn 1 part. Computer-generated score. 7 pages. | ||||||||||||||
| 11. Horn 2 part. Computer-generated score. 6 pages. | ||||||||||||||
| 12. Trumpet 1 part. Computer-generated score. 4 pages. | ||||||||||||||
| 13. Trumpet 2 part. Computer-generated score. 4 pages. | ||||||||||||||
| 14. Percussion 1 part. Computer-generated score. 9 pages. | ||||||||||||||
| 15. Percussion 2 part. Computer-generated score. 9 pages. | ||||||||||||||
| 16. Piano part. Computer-generated score. 16 pages. | ||||||||||||||
| 17. Violin 1 part. Computer-generated score. 15 pages. | ||||||||||||||
| 18. Violin 2 part. Computer-generated score. 12 pages. | ||||||||||||||
| 19. Viola part. Computer-generated score. 11 pages. | ||||||||||||||
| 20. Cello part. Computer-generated score. 11 pages. | ||||||||||||||
| 21. Contrabass part. Computer-generated score. 4 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Piano. | ||||||||||||||
| 1. Computer generated draft. Pencil corrections. 10 pages. | ||||||||||||||
| 2. Computer generated draft. Pencil corrections. 4 pages. | ||||||||||||||
| 3. Computer generated draft. Pencil corrections. 1 page. | ||||||||||||||
| 4. Computer generated draft. Pencil corrections. 5 pages. | ||||||||||||||
| 5. Computer generated draft. Pencil corrections. 5 pages. | ||||||||||||||
| 6. Computer generated draft. Pencil corrections. 3 pages. | ||||||||||||||
| 7. Computer generated draft. Pencil corrections. 1 page. | ||||||||||||||
| 8. Autograph manuscript sketches. 20 leaves (7 blank). | ||||||||||||||
Scope and Content Notes Instruments: Alto Sax, Tenor Sax and Baritone Sax. At end: “The MacDowell Colony - Pittsburgh, PA 11/22” | ||||||||||||||
| 1. Autograph manuscript sketches. 36 leaves (18 blank). | ||||||||||||||
| 2. Computer generated draft. 7 pages. | ||||||||||||||
| 3. Computer generated draft. 1 page. | ||||||||||||||
| 4. Computer generated draft. 8 pages. | ||||||||||||||
| 5. Computer generated draft. 7 pages. | ||||||||||||||
| 6. Computer generated draft. 30 pages. | ||||||||||||||
| 7. Computer generated draft. 12 pages | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, Keyboard Sampler. Dedication: for Rachel Rudich Commissioned by: Rachel Rudich | ||||||||||||||
| 1. Full score. Computer-generated draft. Pages 1–9 only | ||||||||||||||
| 2. Full score. Computer-generated draft. Pages 1–6 only | ||||||||||||||
| 3. Full score. Computer-generated dated revised pages. | ||||||||||||||
| 4. Flute part. Computer-generated score. | ||||||||||||||
| 5. Full score. Computer-generated score. | ||||||||||||||
Scope and Content Notes Instrumentation: 2 Violins, Viola, Cello, Contrabass. Dedication: some copies state “for Emily Onderdonk;” others state “for Emily Onderdonk and ELIXIR” | ||||||||||||||
| 1. Full score. Computer-generated score. 22 pages. | ||||||||||||||
| 2. Autograph manuscript sketches. 28 leaves (15 blank). There is no title, but the word “Elixir,” which is part of the dedication, appears at the top of one page. | ||||||||||||||
| 3. Autograph manuscript sketches. 28 leaves (15 blank). There is no title, but the word “Elixir,” which is part of the dedication, appears at the top of one page. | ||||||||||||||
| 4. Full score. Computer-generated draft. Pen and pencil corrections. 11 pages. | ||||||||||||||
| 5. Full score. Computer-generated draft. Pencil corrections. 13 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: [Wind ensemble.] Commissioned by: [Washington & Jefferson College, Washington, PA] | ||||||||||||||
| 1. Autograph manuscript sketches. 12 leaves (8 blank). | ||||||||||||||
Scope and Content Notes Instrumentation: [Wind ensemble.] Commissioned by: [Washington & Jefferson College, Washington, PA] | ||||||||||||||
| 1. Full score. Computer-generated draft. 3 pages. | ||||||||||||||
| 2. Autograph manuscript sketches and drafts. 30 leaves. | ||||||||||||||
| 3. Autograph manuscript sketches. | ||||||||||||||
| 4. Full score. Computer-generated drafts. | ||||||||||||||
Scope and Content Notes Instrumentation: Piano. Dedication: for Andrew Imbrie, in his 80th year Commissioned by: Meet-the-Composer U.S.A. for David Holzman At end: “5/18/01 Psh.PA/Hoboken, NJ Notes: Three movements: I. Song of the Mackerel; II. Well I Wish I Was a Catfish; III. Catch and Release. | ||||||||||||||
| 1. Piano score. Computer-generated draft of movement II. Handwritten note on one page: “Catfish.” | ||||||||||||||
| 2. Piano score. Computer-generated score.. 20 pages, including title page and performance notes. | ||||||||||||||
| 3. Piano score. Computer-generated draft. With title caption. Pencil notations. Pages 5, 10, and 11 are missing.17 pages. | ||||||||||||||
| 4. Piano score. Computer-generated draft. With title caption. Pencil notations. Pages 5, 10, and 11 are missing.17 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, Oboe, B-flat Clarinet, Bassoon, Viola, Contrabass, Percussion, Piano. Dedication: for Henry Onderdonk Commissioned by: “Eight-Point Turn was commissioned for the Relâche Ensemble with the generous support of the National endowment for the Arts and the Philadelphia Music Project, funded by The Pew Charitable Trusts, administered by Settlement Music School. At end: “6/29/01 Montana Artists Refuge” | ||||||||||||||
| 1. Full score. Computer-generated draft. Pencil notations. 27 pages, including title page and performance notes. | ||||||||||||||
| 2. Full score. Computer-generated draft. Pencil notations. Pages 1-13 only. | ||||||||||||||
| 3. Full score. Computer-generated draft. Pencil notations. Pages 1-14 only. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, Oboe, B-flat Clarinet, Bassoon, French Horn, Trumpet, Tenor Trombone, Tuba, Timpani, Vibraphone, Piano, Violin, Viola, Violoncello, Contrabass. Dedication: in memoriam 9/11/01 At end: “Jersey City 3/7/02” | ||||||||||||||
| 1. Full score. Computer-generated draft. Pencil notations. 29 pages. | ||||||||||||||
| 2. Reduced score for Piano, Violin I & II. Computer-generated draft. Alternate title: “Short Lament,” dated 2/10. Pages 1-4 only. | ||||||||||||||
| 3. Full score. Computer-generated draft. Title cut off first page. Pages 1-4, 9-15, and 17. | ||||||||||||||
Scope and Content Notes Instrumentation: 2 Marimbas. Dedication: for Stephen Paysen and Dominic Donato At end: “July 2002 Montana Artists Refuge Basin MT” | ||||||||||||||
| 1. Full score. Computer-generated drafts. | ||||||||||||||
Scope and Content Notes Instrumentation: Percussion. Dedication: for Michael Lipsey Commissioned by: Michael Lipsey At end: “August 23, 2003 Montana Artists Refuge” | ||||||||||||||
| 1. Individual parts labeled “Percussion” and “Drums.” Computer-generated draft with corrections in pencil. Includes two pages of handwritten performance notes | ||||||||||||||
| 2. Congas part. Computer-generated score. Pencil notations. 3 pages. | ||||||||||||||
| 3. Congas part. Computer-generated score. 2 copies. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, Piano. Notes: Subtitle is “The Song of the Three-Headed Siren.” | ||||||||||||||
| 1. Full score. Computer-generated dated revised pages. | ||||||||||||||
| 2. Full score. Computer-generated score. 4 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Piano. Dedication: for Miranda Jacoby Commissioned by: [Thalia Myers for Spectrum 4] Note: [Published by the Associated board for the Royal School of Music (UK)] | ||||||||||||||
| 1. Piano score. Computer-generated drafts. | ||||||||||||||
Scope and Content Notes Instrumentation: Alto Flute [or viola], Piano Commissioned by: [the Philadelphia Music Project and NEA for Relâche] Note: Alternate title on some copies is “Palaver & Dreamsong” | ||||||||||||||
| 1. Full score. Computer-generated drafts | ||||||||||||||
| 2. Full score. Computer-generated score. 7 pages. | ||||||||||||||
| 3. Alto flute part. Computer-generated score. 2 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Not designated. Described by composer as “Electroacoustic Music.” Note: Created for Carolyn Speranza as music for a documentary video by Speranza.. Funded by the Heinz Foundation. Documentary presented March 2, 2003. | ||||||||||||||
| 1. Recording notes and email correspondence with Speranza. | ||||||||||||||
| 2. Full score. Computer-generated drafts. | ||||||||||||||
| 3. Autograph manuscript sketches. | ||||||||||||||
Scope and Content Notes Instrumentation: Voice [Mezzo-Soprano], Piano. Also a score included for Flute, Oboe, Clarinet in B-flat, Trumpet in C, Horn in F, Violin, Viola, Cello, Percussion, Voice, Piano. Commissioned by: [Mary Nessinger]. At end: “July 19, 2003 / Montana Artists Refuge, Basin, MT” Notes: [Based on text by David Foster Wallace; video by Suzie Silver]. | ||||||||||||||
| 1. Notes and Wallace text. | ||||||||||||||
| 2. Autograph manuscript sketches. 18 leaves. | ||||||||||||||
| 3. Voice and Piano reduction. Computer-generated and autograph manuscript drafts, assorted undated pages. | ||||||||||||||
| 4. Voice, Piano, and Percussion reduction. Computer-generated draft. Pencil notations. 92 pages, missing page 30. | ||||||||||||||
| 5. Piano, Voice and Percussion reduction. Computer-generated score. Spiral bound. 89 pages. Computer-generated note in upper-left corner of title page: “unrevised piano vocal score.” | ||||||||||||||
| 1. Full score, chamber orchestra version. Computer-generated draft. Pen notations. 374 pages. In box labeled “full score 11/03, draft, w/corrections.” | ||||||||||||||
Scope and Content Notes Instrumentation: Pipa and Electroacoustic Sound Dedication: for Wu Man Commissioned by: Fromm Foundation for Wu Man At end: “7/31/2004 Montana Artists Refuge” | ||||||||||||||
| 1. Full score. Computer-generated score. 22 pages, including title page and performance notes. | ||||||||||||||
| 2. Full score. Computer-generated score. 23 pages. | ||||||||||||||
| 3. Full score. Computer-generated draft. Alternate title handwritten on first page: “Skin of the Mountains.” 23 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Piano. Dedication: for Jeanne Golan At end: “6/28/2004 Montana Artists Refuge, Basin, MT” | ||||||||||||||
| 1. Piano score. Computer-generated score. 19 pages, including title page and performance notes. | ||||||||||||||
| 2. Piano score. Computer-generated score. Pencil notations. 19 pages, including title page and performance notes. | ||||||||||||||
Scope and Content Notes Instrumentation: Congas, Drum Set, Piano. Dedication: for Tom Flaherty | ||||||||||||||
| 1. Full score. Computer-generated score. 19 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Piano Note: Various drafts have different titles listed. | ||||||||||||||
| 1. Piano score. Computer-generated drafts and dated revised pages. | ||||||||||||||
| 2. Autograph manuscript sketches. | ||||||||||||||
Scope and Content Notes Instrumentation: Violin, Piano. Commissioned by: [Curtis Macomber]. Note: Three movements: I. Rhyme Does Not Pay; II. Aria; III. Sorbet of Regret. | ||||||||||||||
| 1. Autograph manuscript sketches. | ||||||||||||||
| 2. Full score. Computer-generated drafts and dated page revisions. | ||||||||||||||
Scope and Content Notes Instrumentation: Soprano, Alto, Tenor, Bass. Commission: Commissioned by Volti. Note: Based on text by Matthea Harvey. | ||||||||||||||
| 1. Autograph manuscript sketches. 4 leaves. | ||||||||||||||
| 2. Full score. Computer-generated drafts and dated revised pages. | ||||||||||||||
| 3. Copy of text. | ||||||||||||||
| 4. Copy of email correspondence with notes about the piece. | ||||||||||||||
Scope and Content Notes Instrumentation: Voice, piano. Commission: [commissioned by Mary Nessinger and Jeanne Golan] Note: Based on poem by Emily Dickinson | ||||||||||||||
| 1. Autograph manuscript sketches. | ||||||||||||||
| 2. Full score. Computer-generated drafts. | ||||||||||||||
| 3. Full score. Computer-generated score. 5 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Percussion. | ||||||||||||||
| 1. Full score. Computer-generated drafts and dated revised pages. | ||||||||||||||
| 2. Full score. Computer-generated score. | ||||||||||||||
Scope and Content Notes Instrumentation: [Flute; Electroacoustic Sound.] Commissioned by: Patti Monson Dedication: For Patti Monson Note: Alternate title on some drafts is “Service Economy.” | ||||||||||||||
| 1. Autograph manuscript sketches. | ||||||||||||||
| 2. Full score. Computer-generated drafts. Undated. | ||||||||||||||
| 3. Full score. Computer-generated dated revised pages. | ||||||||||||||
| 4. Full score. Computer-generated score. 14 pages. 2 copies. | ||||||||||||||
Scope and Content Notes Instrumentation: Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone. Commission: [commissioned by the New York Saxophone Quartet] At end: “3/20/05 12:40 pm” | ||||||||||||||
| 1. Autograph manuscript sketches. | ||||||||||||||
| 2. Computer-generated holograph with corrections in blue marker. 18 pages. | ||||||||||||||
| 1. Computer generated holograph of “honey is sweeter than cash.” | ||||||||||||||
| 1. Computer-generated holograph of “the prodigal princess” / “the sad story of the prodigal princess” | ||||||||||||||
| 1. Computer-generated holograph of “bottom line.” | ||||||||||||||
| 1. Computer-generated holograph of “Market Forces” with corrections in pencil. | ||||||||||||||
Scope and Content Notes Instrumentation: There are multiple versions. Notes: Based on text by Bill Kushner. Four movements: Rain; [& A Warm Hello From the Alient Ant Farm]; Sad Story; [Big Joe]. Drafts of “& A Warm Hello...” are titled “Ant!” Drafts of “Big Joe” are titled “Big Joe Cloud.” At end: [Big Joe]: “March 20, 2005 Pittsburgh, PA” | ||||||||||||||
| 1. Autograph manuscript sketches. “Ant!” 4 leaves. | ||||||||||||||
| ||||||||||||||
Scope and Content Notes Instrumentation: Flute, Clarinet, Violin, Cello, Percussion, Piano. Commission: [Commissioned by the New York New Music Ensemble] Note: Three movements: I. Learning to fly; II. Early loss; 3. Rescuing the planet in distress; 4. Existential crisis - what’s it all for. | ||||||||||||||
| 1. Computer-generated drafts and dated revised pages with multiple instrumentations (piano, piano/violin, piano/percussion, piano/bass clarinet, etc.). | ||||||||||||||
| 2. Full score. Computer-generated draft. Pencil notations.47 pages. | ||||||||||||||
| 3. Full score. Computer-generated score. 47 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Percussion. Dedication: to Paul Vallancourt Commissioned by: Carson McCullers Center for Writers and Musicians At end: “Pittsburgh 1/15/2006” | ||||||||||||||
| 1. Percussion score. Computer-generated drafts. Undated. | ||||||||||||||
| 2. Full score. Computer-generated score. 23 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Violin Commissioned by: [Curtis Macomber] Note: Drafts have two different titles: Jitterbug and Flex Time. Flex Time is the final title. | ||||||||||||||
| 1. Violin score. Autograph and computer-generated drafts and dated revised pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute and piano. Notes: [Written for Tara O’Connor and Margaret Kampmeier.] Two movements: I. The Ungraspable Advance of the Past; II. Devouring the Future. | ||||||||||||||
| 1. Full score. Computer-generated dated revised pages. | ||||||||||||||
| 2. Full score. Computer-generated score. 20 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Soprano, Mezzo-Soprano, Cello. Commissioned by: Phoenix Commissions for Seraphim At end: “8/16/07 Virginia Center for the Creative Arts” Note: Based on text by Wallace Stevens. Three movements: I. The Plot against the Giant; II. Worms at Heaven’s Gate; III. Nomad Exquisite. | ||||||||||||||
| 1. Autograph manuscript sketches. 6 leaves. | ||||||||||||||
| 2. Stevens text. 2 pages. | ||||||||||||||
| 3. Full score. Computer-generated drafts. Partial drafts of movements II and III. | ||||||||||||||
| 4. Full score. Computer-generated dated revised pages. Dates range from 8/17 to 8/20. | ||||||||||||||
| 5. Full score. Computer-generated draft. Dated 8/20. | ||||||||||||||
| 6. Full score. Computer-generated score. 15 pages, including title page, performance notes and text of poems. | ||||||||||||||
Scope and Content Notes Instrumentation: Percussion [2 Chau gongs, Chinese opera gong, suspended cymbal]. Commissioned by: [Dominic Donato]. At end: “Pittsburgh, 5/10/2007” | ||||||||||||||
| 1. Full score. Computer-generated dated revised pages. | ||||||||||||||
| 2. Full score. Computer-generated drafts. Dated and undated. | ||||||||||||||
| 3. Full score. Computer-generated score. 7 pages, including title page/performance notes. | ||||||||||||||
Scope and Content Notes Instrumentation: Clarinet, Piano. Commissioned by: Jean Kopperud. At end: 8/4/2007 / Montana Artists Refuge / Basin, MT” Note: Performed by Jean Kopperud and Stephen Gosling, Merkin Concert Hall, New York, NY, 2/23/09. | ||||||||||||||
| 1. Autograph manuscript sketches. 4 leaves. | ||||||||||||||
| 2. Full score. Computer-generated dated revised pages. | ||||||||||||||
| 1. Full score. Computer-generated draft. Pencil notations. 21 pages, including title page and performance notes. | ||||||||||||||
Scope and Content Notes Instrumentation: Cello, Piano. Commissioned by: David Russell. | ||||||||||||||
| 1. Autograph manuscript sketches. 4 leaves. | ||||||||||||||
| 2. Full score. Computer-generated draft. Pencil notations. 18 pages. | ||||||||||||||
| 3. Computer-generated score. Stapled. 20 pages, including title page and performance notes. One copy has “old” written in upper-right corner of cover page. 2 copies. | ||||||||||||||
Scope and Content Notes Instrumentation: Piano. Notes: Drafts have two different titles: “Idyll” and “Frozen Rain, Summer Dreams.” Later copies list “Frozen Rain, Summer Dreams” as title. Written for the Van Cliburn Foundation American Composers International Competition, Rob Frankenberry, Bellefield Auditorium, [Pittsburgh, PA], 11/17/08. | ||||||||||||||
| 1. Autograph manuscript sketches. 2 leaves. | ||||||||||||||
| 2. Piano score. Computer-generated sketches. | ||||||||||||||
| 3. Piano score. Computer-generated dated revised pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Piano and Drum Set.. | ||||||||||||||
| 1. Full score. Computer-generated sketches. | ||||||||||||||
| 1. Full score. Computer-generated dated revised pages. | ||||||||||||||
| 1. Full score. Computer-generated draft. Pencil notations. Pages 1-13. | ||||||||||||||
Scope and Content Notes Instrumentation: Piano Notes: [Created as a multimedia piece to accompany video by Suzie Silver and Hilary Harp. “AV Lodge Presents: Fruit Machine 2008 Pittsburgh Biennial,” Pittsburgh Center for the Arts, 6/18/08.] | ||||||||||||||
| 1. Piano score. Computer-generated dated revised pages. | ||||||||||||||
| 2. Piano score. Computer-generated draft. Pencil notations.4 pages. | ||||||||||||||
| 1. Piano score. Computer-generated score. 4 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: 2 Flutes (1 piccolo), 2 Oboes (1 English Horn), 2 Clarinets in B-flat (1 Bass Clarinet), 2 Bassoons, 2 Horns in F, 2 Trumpets in B-flat, Tenor Trombone, Drum Set (ride, hi-hat, and crash cymbals; 3 tomtoms, snare drum; pedal bass drum), Marimba, Piano, Strings. Commission: Commissioned by the Barlow endowment for Music Composition at Brigham Young University. At end: “8/19/08 / Basin, MT” Notes: Two movements: I. The Cracked Tune That Chronos Sings; II. Slipstream. [Performed by Boston Modern Orchestra Project, Robert Schultz Percussion, Gil Rose, conductor, at Jordan Hall, Boston, MA, 5/22/09.] | ||||||||||||||
| 1. Autograph manuscript sketches. 2 leaves. | ||||||||||||||
| 2. Piano and Drum Set score. Computer-generated sketches. | ||||||||||||||
| 1. Piano and Drum Set score. Computer-generated drafts and dated revised pages. Movement I. | ||||||||||||||
| 1. Piano and Drum Set score. Computer-generated drafts and dated revised pages. Movement II. | ||||||||||||||
| 1. Drum Set part. Computer-generated score. 21 pages, missing pages 16-17. | ||||||||||||||
| ||||||||||||||
| 1. Full score. Computer-generated draft. Pen notations. 173 pages. | ||||||||||||||
| ||||||||||||||
| 1. Full score. Computer-generated score. 173 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Soprano, Alto, Tenor, Bass. Commissioned by: [Volti.] Notes: [Performed by Volti, St. Mark’s, Berkely, CA, 2/27/09, and St. Gregory’s, San Francisco, CA, 2/28/09.] Includes text by Matthea Harvey. | ||||||||||||||
| 1. Autograph manuscript sketches. | ||||||||||||||
| 2. Text with pencil notes. | ||||||||||||||
| 3. Full score. Computer-generated dated revised pages. Pencil notations. | ||||||||||||||
| 4. Full score. Computer-generated score.16 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Bass Clarinet, Violin, Viola, Cello, Piano. Commissioned by: [counter)induction.] Note: Drafts have two different titles: “Based on a True Story” and “Dead Cat Bounce.” Later drafts list “Dead Cat Bounce” as title. [Performed Merkin Concert Hall, New York, NY, 6/15/09.] | ||||||||||||||
| 1. Autograph manuscript sketches.10 leaves. | ||||||||||||||
| 2. Computer-generated sketches. 2 leaves. | ||||||||||||||
| 3. Full score. Computer-generated drafts. Assorted pages. | ||||||||||||||
| 4. Full score. Computer-generated dated revised pages. | ||||||||||||||
| 5. Full score. Computer-generated drafts. Pencil notations. Dated on title page: 3/20 (22 pages), 3/24 (30 pages), and 4/5 (29 pages). | ||||||||||||||
| 6. Full score. Computer-generated draft. Pencil notations.41 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, Clarinet in B-flat, Bass Clarinet, Violin, Viola, ‘Cello, Piano. Commissioned by: The Jebediah Foundation New Music Commissions. Dedicated to: The Firebird Ensemble. At end: VCCA 6/14/2009 Note: Original title (?): Frozen Hours Melt into the Past. Performance and program notes before the score. | ||||||||||||||
| 1. Full score. Computer-generated. 39 pages. | ||||||||||||||
| 2. Parts. Computer-generated. Printed back-to-back. Flute, Violin, Viola, Cello. | ||||||||||||||
| 3. Drafts. Computer-generated.
a. Dated 6/14. 48 pages. b. Dated 6/9. pp. 19-37. c. Dated 6/10. pp. 2-37. d. Dated 6/11. pp. 28-32. e. Dated 6/12. pp. 19-27. f. Dated 6/12B: pp. 21-38. | ||||||||||||||
Scope and Content Notes Instrumentation: Soprano, Clarinet in B-flat/Bass Clarinet, Piano/Keyboard Sampler. At end: Ucross, WY, 8/21/2009. Note: Text by Denise Duhamel. Performance notes and texts on preliminary pages. Original title: Fame is no plant that grows on mortal soil. Texts and correspondence with the poet included. 6 movements. I. If you like maraschino cherries, you’ll love my nipples. II. It isn’t easy being the daughter of Captain America. III. Award acceptance speech. IV. I’m a goddess, not an octopus. V. Interview. VI. It hasn’t been easy. | ||||||||||||||
| 1. Computer-generated score. [4], 42 pages. | ||||||||||||||
| 2. Computer-generated score. 48 pages. | ||||||||||||||
| 3. Computer-generated score. 42 pages. Lacks preliminary pages. Corrections in pencil. | ||||||||||||||
| 4. Computer-generated score. 42 pages. Hole-punched. | ||||||||||||||
| 5. Computer-generated score. 43 pages. Lacks title page. | ||||||||||||||
| 6. Drafts. Computer-generated.
a. Dated 7/4. pp. 1-4. No text underlay. b. Dated 7/8. pp. 1-6. No text underlay; corrections/additions in pencil. c. Dated 7/9. pp. 7-8. No text underlay; corrections/additions in pencil. d. Dated 7/28. pp. 1-9. Text underlay; corrections/additions in pencil. e. Dated 8/6. pp. 12-18. No text underlay; corrections/additions in pencil. f. Undated. pp. 10-17. g. Undated. pp. 22-28. h. Dated 8/13. pp. 1-12. Corrections in pencil. i. Dated 8/13B. pp. 10-13. Some text added in pencil above staff. j. Dated 8/14. pp. 14-20. No text underlay; corrections/additions in pencil. k. Dated 8/15. pp. 7-9. l. Dated 8/15B. pp. 8-10. m. Dated 8/21. pp. 21-23. n. Dated 9/16. pp. 1-16. Corrections in blue and black pencil. o. Dated 9/25. pp. 1-40. Corrections in blue and black pencil. p. Dated 10/8. 42 pages. Includes texts and performance notes. “For Haleh Abghari” before notes. q. Undated. 39 pages. Corrections in pencil. | ||||||||||||||
| 7. Sketches. Manuscript. [11] bifolios. | ||||||||||||||
Scope and Content Notes Instrumentation: Soprano, Cello, Piano At end: Pittsburgh, 5/7/2009 Note: Texts by Richard Wilbur. | ||||||||||||||
| 1. Computer-generated score. 27 pages (439 measures) | ||||||||||||||
| 2. Computer-generated score. 27 pages (436 measures) | ||||||||||||||
| 3. Sketches.
a. Manuscript. 4 bifolios. b. Texts. [2] leaves. Typewritten. Composer’s sketching out and analysis of texts. Title on leaf [1]: Two songs in a stanza of Beddoes’. Title on leaf [2]: Anterooms. | ||||||||||||||
| 4. Drafts. Computer-generated.
a. Undated. pp. 1-3, 10, 15-20, 25-27 (439 measures) b. Undated. pp. 1-27 (418 measures) c. Dated 4/13. p. [1]. d. Dated 4/16: pp. 2-4. e. Dated 4/17. p. 4. f. Dated 4/17B. pp. 4-6. g. Dated 4/18. pp. 3-7. h. Dated 4/20. pp. 9-10. i. Dated 4/21. pp. 8-10. j. Dated 4/22. pp. 9-10. k. Dated 4/23. pp. 10-11. l. Dated 4/24. pp. 9-12. m. Dated 4/28. pp. 1-12, 14. n. Dated 4/29. pp. 9-12. o. Dated 4/28B. pp. 12-13. p. Dated 4/30. pp. 12-14. q. Dated 5/1. pp. 14-15. r. Dated 5/1B. pp. 14-15. s. Dated 5/1C. pp. 14-15. t. Dated 5/2. pp. 14-20. u. Dated 5/3. pp. 16-19. v. Dated 5/4. pp. 19-20. w. Dated 5/5. pp. 20-22. x. Dated 5/5B. pp. 21-23. y. Dated 5/6. pp. 21-26. z. Dated 5/6B. p. 24. aa. Dated 5/7. p. 1 bb. Dated 5/7B. pp. 22-27. | ||||||||||||||
Scope and Content Notes Instrumentation: Bass Clarinet, DX7II. Note: These folders contains more than one untitled sketch or draft. Because they are untitled and undated, and because they are sketches (and therefore difficult to clearly link with each other or finished pieces), they are grouped together. | ||||||||||||||
| 1. Photocopies of autograph manuscript score. Includes pencil corrections, 4 pages. | ||||||||||||||
| 2. Computer printout of DX7 II Voices. Includes pencil notes. 4 pages. | ||||||||||||||
| 3. Autograph manuscript draft. 50 leaves (13 blank). In the same packet are photocopies of autograph manuscript drafts, 7 pages. | ||||||||||||||
| ||||||||||||||
| 2. Autograph manuscript sketches. 92 leaves (29 blank). In the same packet is a computer generated holograph (1 page). | ||||||||||||||
| ||||||||||||||
| 2. Autograph manuscript sketches. 36 leaves (3 blank). Found between “Blue Air” and “The Shocked Music of Pearls.” | ||||||||||||||
Scope and Content Notes Note: This folder contains drafts of articles. Publication dates or status is not known. | ||||||||||||||
| 1. Mozart’s K.515, First Movement: A General Discussion. Typewritten (13 pages) and photocopies (10 pages). | ||||||||||||||
| 2. Schonberg’s “Easy Life”: The First Movement of the Piano Concerto. Typewritten (12 pages) and photocopies (3 pages). | ||||||||||||||
Scope and Content Notes Note: This folder contains recordings notes dated 3/2/95 for a project listed only as “Hayes Biggs.” | ||||||||||||||
| 1. Notes on sound recordings. Photocopy and pencil notes. 11 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute and piano. | ||||||||||||||
| 1. Computer generated drafts. Pen and pencil corrections. 27 pages. .
Instrumentation: Flute and piano. | ||||||||||||||
Scope and Content Notes Instrumentation: Not indicated. | ||||||||||||||
| 1. Notes and charts written on back of “Kicking and Screaming” scores. 46 pages (17 in pencil, 21 by computer, 8 blank). | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, Piano. | ||||||||||||||
| 1. Full score. Computer-generated draft. Pen and pencil corrections. 9 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: E-flat Alto Saxophone, B-flat Tenor Saxophone, E-flat Baritone Sax. | ||||||||||||||
| 1. Autograph Manuscript sketches. 4 leaves (1 blank) | ||||||||||||||
| 2. Full score. Computer-generated draft with pencil corrections. 17 pages. Note at top of draft: “10/28.” | ||||||||||||||
| 3. Notes on sound recording. 1 page. | ||||||||||||||
Scope and Content Notes Instrumentation: not listed. Note: Title handwritten on first page. | ||||||||||||||
| 1. Computer-generated drafts and dated revised pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, piano. | ||||||||||||||
| 1. Autograph manuscript sketches. 4 leaves. | ||||||||||||||
| 2. Full score. Computer-generated dated revised pages. | ||||||||||||||
| 3. Full score. Computer-generated draft. Dated 8/22. 15 pages. 2 copies. | ||||||||||||||
| 4. Full score. Computer-generated score. Undated. 15 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Cello, Piano. Notes: Four different titles listed on various drafts. No clean final copy without revisions. | ||||||||||||||
| 1. Autograph manuscript sketches. | ||||||||||||||
| 2. Full score. Computer-generated drafts and dated revised pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Alto flute. | ||||||||||||||
| 1. Autograph manuscript sketches. | ||||||||||||||
| 2. Autograph manuscript draft. “Alto fl” notated in upper left-hand corner. Partial score. | ||||||||||||||
Scope and Content Notes Instrumentation: English horn, Bass clarinet, Viola, Piano. | ||||||||||||||
| 1. Copy of autograph manuscript holograph. Pages 1-14. | ||||||||||||||
Scope and Content Notes Instrumentation: Piano. | ||||||||||||||
| 1. Piano score. Computer-generated draft. Pencil notations. Pages 1-6. | ||||||||||||||
| 2. Piano score. Computer-generated draft. 7 pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Violin, Piano. | ||||||||||||||
| 1. Full score. Computer-generated draft. Handwritten notation on one page: “II. Alla Breve.” | ||||||||||||||
Scope and Content Notes Instrumentation: Not designated. Possibly piano. | ||||||||||||||
| 1. Computer-generated draft. Pencil notations. Pages 3-5, multiple versions of each page. | ||||||||||||||
Scope and Content Notes Instrumentation: Piccolo, Clarinet, Violin, Cello, Percussion, Piano. | ||||||||||||||
| 1. Computer-generated draft. Pen and pencil notations. Pages 39-47. | ||||||||||||||
Scope and Content Notes Instrumentation: Violin 1, Violin 2, Viola, Piano | ||||||||||||||
| 1. Full score. Computer-generated draft and dated revised pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Soprano, Flute, Clarinet in B-flat, Violin, Viola, Cello, Piano At end: 5/27/2009. Note: No text. Title of the work varies on the different versions. | ||||||||||||||
| 1. Drafts. Computer-generated.
a. Undated. pp. 1-3, 5-35. Additions and corrections in pencil. b. Undated. p. 1. Title: Cantando. c. Dated 5/17. pp. 1-2. Title: Canto. d. Dated 5/18. pp. 2-3. Pencil additions. e. Dated 5/26. pp. 1-4. f. Dated 5/27. pp. 1-4. Additions and corrections in pencil. On caption (in pencil): At a loss for words. The words are lost, but the tune remains. g. Dated 6/2. pp. 1-2. Pencil corrections. Title: The words are lost, but the tune remains. h. Dated 6/2B. pp. 1-4. Additions and corrections in pencil. Title on caption (in pencil): On the verge of speech. i. Dated 6/3. pp. 2-3, 11-13, 15. Additions and corrections in pencil. j. Dated 6/6. pp. 3-5. Additions and corrections in pencil. k. Dated 6/6B. pp. 4-11. Additions and corrections in pencil. l. Dated 6/8. pp. 24-30. Additions and corrections in pencil. m. Dated 6/8B. pp. 25-29. Additions and corrections in pencil. | ||||||||||||||
Scope and Content Notes Instrumentation. Piano. Dedication: For Wayne Peterson. At end: VCCA (Virginia Center for the Creative Arts) and Montana Artists Refuge, May-June 2010. | ||||||||||||||
| 1. Sketches.
a. Manuscript. [21] leaves. b. Manuscript. [6] leaves. Photocopy. Water-stained. | ||||||||||||||
| 2. Scores.
a. Computer-generated. 19 pages. b. Computer-generated draft. 19 pages. | ||||||||||||||
Scope and Content Notes Instrumentation. Flute, Oboe, Bassoon, Percussion, Piano. Dedication: “J. Karla Lemon in memoriam”—Caption. Note: Supported by the Pew Center for Arts & Heritage through the Philadelphia Music Project. | ||||||||||||||
| 1. Computer-generated score. 30 pages. “C-score.” | ||||||||||||||
| 2. Drafts. Computer-generated.
a. Undated. [2] leaves. Piano reduction. b. Dated 7/9. pp. 1-3. c. Dated 7/10. p. 4. d. Dated 7/13. p. [1]. e. Dated 7/18. pp. 2-7. f. Dated 8/3B. pp. 2-4. Piano reduction. g. Dated 8/9. pp. 2-3. Piano reduction. h. Dated 8/9. pp. 1-8. Full score. i. Dated 8/10. pp. 1-14. Full score. j. Dated 8/17. [1] leaf k. Dated 8/30. pp. 1-18, 22-24. Corrections in pencil and pink ink. Printed in green ink. “J.K.L. in memoriam”—Caption. l. Dated 9/6. pp. 18-21. Corrections in pencil. m. Dated 9/9. pp. 1-29. Corrections in pencil and blue ink. | ||||||||||||||
| 3. Sketches. Manuscript. [8] leaves. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, Clarinet in B-flat, Violin, Cello, Drumset, Marimba, Piano. Dedication: For Paul Lanksy. Commission: Mandel Foundation and the 2010 Utah Arts Festival. | ||||||||||||||
| 1. Full score. Computer-generated. 32 pages. Printed double-sided. | ||||||||||||||
| 2. Full score. Computer-generated. 75 pages. Additions and corrections in pencil. | ||||||||||||||
| 3. Sketches. Manuscript. [12] leaves. | ||||||||||||||
| 4. Drafts.
a. Computer-generated. Score format. 1. Undated. p. 1. 2. Undated. pp.1-2. 3. Undated. pp.1-5. 4. Undated. pp. 31-35. b. Computer-generated. Piano reduction. 1. Undated. [1] leaf. 2. Undated. p. 1. 3. Undated. p. 1. 4. Undated. pp. 1-5 5. Undated. pp. 1-10. 6. Undated. pp. 9-11. 7. Undated. pp. 8-12. 8. Undated. pp. 8, 10-16 (several versions of pp. 15-16). 9. Dated 2/13. pp. 1-12. 10. Dated 2/14. pp. 12-13. 11. Dated 2/15. pp. 13-14. 12. Dated 2/15C. pp. 14-15. 13. Dated 2/18. pp. 14-15. 14. Dated 2/20. pp. 15-17. 15. Dated 2/21. pp. 16-17. 16. Dated 2/23. pp. 6-20. 17. Dated 2/25. pp. 17-20. 18. Dated 2/26. pp. 18-20. 19. Dated 2/27. p. 10. 20. Dated 3/2. pp. 20-21. 21. Dated 3/5. pp. 19-24. 22. Dated 3/6. pp. 19, 23-24. 23. Dated 3/7. pp. 17-24. 24. Dated 3/8. pp. 21-24. 25. Dated 3/10. pp. 16-17. 26. Dated 3/12. p. 24. 27. Dated 3/13. pp. 17-18, 24. 28. Dated 3/14B. pp. 18-19. c. Computer-generated. Full score. 1. Undated. pp. 1-24 (complete?). 2. Undated. pp. 1-67 (incomplete). Various titles in pencil on caption: I hear time’s winged chariot; And hear our pleasures; Strenuous pleasures. 3. Dated 3/14. pp. 1-8. 4. Dated 3/19. pp. 42-47. 5. Dated 3/23. pp. 65-68, 72-73 (several versions of pp. 65-67). 6. Dated 3/24. pp. 65-77. 7. Dated 4/5. pp. 65-77. d. Handwritten notes on the piece. [2] pages. | ||||||||||||||
Scope and Content Notes Instrumentation: Percussion (4 players) Dedication: To the memory of Serge and Natalie Koussevitsky. For Talujon. Note: Completed at Copland House, Cortland manor, NY as a recipient of the Aaron Copland Award. | ||||||||||||||
| 1. Working documents for instrumentation/rhythms. [7] pages. | ||||||||||||||
| 2. Computer-generated full scores.
a. Dated 5/15. 50 pages. Corrections in pencil and red ink. b. Dated 5/24. 52 pages. Includes performance notes. | ||||||||||||||
| 3. Drafts. Computer-generated.
a. Dated 5/9. 51 pages. b. Dated 5/9. 50 pages (incomplete). c. Undated. 21 pages. d. Undated. pp. 34-44. | ||||||||||||||
Scope and Content Notes Instrumentation: Voice, Piano. Dedication: For Tom Cipullo. Note: Text by Denise Duhamel. | ||||||||||||||
| 1. Computer-generated score. 8 pages. Printed on the verso of some pages of the score are drafts dated 2/2/11. | ||||||||||||||
| 2. Texts. Typewritten. [1] leaf. Title: Ten qualities as a Cosmo girl I really want in my man. Dedication: For Jean Valentine, after seeing Bambi. | ||||||||||||||
| 3. Sketches. Manuscript. [2] bifolios. | ||||||||||||||
| 4. Drafts. Computer-generated score.
a. Undated. pp. 1-3. Text underlay. b. Undated. pp. 1-3. Text underlay. c. Undated. pp. 1-3. Text underlay. d. Undated. pp. 3-5. Some text underlay. Additions/corrections in pencil. e. Dated 1/27. pp. 1-3. Additions/corrections in pencil. f. Dated 1/30. pp. 1-6. Text underlay. Additions/corrections in pencil. g. Dated 1/31. pp. 1-8. Text underlay. Additions/corrections in pencil. h. Dated 2/2. pp. 4-8. Text underlay. Additions/corrections in pencil. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, Clarinet in B-flat, Violin, Viola, Cello, Percussion, Piano. Commission: Made possible by a grant from the Jebediah Foundation New Music Commissions. | ||||||||||||||
| 1. Handwritten sheet in pencil with ideas for changes in the work. | ||||||||||||||
| 2. Sketches. Manuscript. [52] leaves. | ||||||||||||||
| 3. Drafts. Computer-generated full scores.
a. Dated 1/27. 109 pages. b. Dated 2/28. 39 pages (incomplete). | ||||||||||||||
| 4. Drafts. Computer-generated reduced scores.
a. Dated 12/4/10. 17 pages. b. Dated 12/4/10. 30 pages. Subtitle on caption: Fresh crispy tone poems #2. | ||||||||||||||
Scope and Content Notes Instrumentation: 2 Versions. 1. Soprano, Piano. 2. Soprano, String Quartet (2 violins, viola, cello). Dedication: For Christine Brandes and the Brentano String Quartet. Commission: South Mountain Concerts, Pittsfield, MA. Note: Text by May Swenson. Contents. I. Swimmers. II. Four Word Lines. III. Fireflies. IV. Incantation. | ||||||||||||||
| 1. Texts typewritten, with composer’s analysis and potential compositional rendering. [4] leaves. | ||||||||||||||
| 2. Sketches. Manuscript. Various foldings. | ||||||||||||||
| 3. Computer-generated scores.
a. Voice, Piano. 44 pages. b. Voice, Piano. 26 pages. c. Voice, String Quartet. 33 pages. d. Voice, String Quartet. 33 pages. On caption: “reh letters/vocal dynamics” in pencil. e. Voice, String Quartet. 34 pages. Dated 11/9. On caption: “reh letters/vocal dynamics” in pink pencil. | ||||||||||||||
| 4. Computer-generated parts. Violin I. pp. 1-6, 8-13. | ||||||||||||||
| 5. Drafts. Computer-generated.
a. Voice, Piano. Dated 6/2/11-1/2/12 and Undated. b. Voice, String Quartet. Dated 6/20/11-1/19/12 and Undated. | ||||||||||||||
Scope and Content Notes Instrumentation: Voice, Piano. Note: Text by William Carlos Williams. | ||||||||||||||
| 1. Texts typewritten, with composer’s analysis and potential compositional rendering. [4] leaves. | ||||||||||||||
| 2. Sketches. Manuscript. 2 leaves. | ||||||||||||||
| 3. Computer-generated score. 12 pages. Printed on gray paper. | ||||||||||||||
| 4. Computer-generated score. 12 pages. Printed on gray paper. “Restless” written in pencil after initial tempo marking. | ||||||||||||||
| 5. Computer-generated score. 12 pages. Printed on gray paper. Dated 10/13. Corrections in pencil. | ||||||||||||||
| 6. Computer-generated score. 12 pages. Printed on gray paper. Undated. | ||||||||||||||
| 7. Drafts. Computer-generated scores.
a. Undated. 12 pages. No text underlay. Corrections/additions in pencil. b. Undated. 8 pages. No text underlay. Corrections/additions in pencil. | ||||||||||||||
Scope and Content Notes Instrumentation: Flute, Bass clarinet, Violin, Cello, Piano. Commission: Hoff-Barthelson School. Note: Composed during a residency at the Carmargo Foundation, Cassis, France. | ||||||||||||||
| 1. Sketches. Manuscript. [11] leaves. | ||||||||||||||
| 2. Computer-generated score. 16 pages. Includes performance and program notes. | ||||||||||||||
| 3. Drafts. Reduced score. Computer-generated.
a. Dated 2/2. 6 pages. b. Dated 2/2. pp. 1-2. Title on caption: Calypso. c. Dated 1/27. pp. 1-5. d. Dated 2/1. pp. 4-8. e. Undated. pp. 1-4. f. Undated. pp. 1-5. | ||||||||||||||
| 4. Drafts. Full score. Computer-generated.
a. Dated 2/14. 16 pages. Corrections/additions in pencil. | ||||||||||||||
Scope and Content Notes Instrumentation: Opera in 1 act. Dedication: For Rob Frankenberry. Note: Libretto by Rob Handel. Premiered by the Opera Theater of Pittsburgh, Summerfest, July 6, 2012, Hillman Center for the Performing Arts. | ||||||||||||||
| 1. Full score. Computer-generated. 66 pages. | ||||||||||||||
| 2. Full score. Computer-generated. 64 pages. Dated 5/25. | ||||||||||||||
| 3. Full score. Computer-generated. 82 pages. | ||||||||||||||
| 4. Parts. Computer-generated.
a. Flute. pp. 1-8 (incomplete). b. Clarinet in B-flat. pp. 8-9 (incomplete). c. Violin. pp. 1-6. d. Cello. pp. 1-11. e. Marimba. pp. 1-7. f. Piano. pp. 1-15. | ||||||||||||||
| 5. Sketches. Manuscript. 5 bifolios. | ||||||||||||||
| 6. Vocal scores. Computer-generated.
a. Undated. pp. [1]-21 (incomplete). b. Undated. pp. [1]-34 (complete). c. Dated 4/21-4/23. pp. [1]-14 (incomplete). d. dated 4/26-4/28. pp. [1]-23 (complete). | ||||||||||||||
| 7. Libretto. Typescript.
a. Clean. pp. 1-4. b. With composer’s annotations. pp. 1-4. | ||||||||||||||
| 8. E-mail correspondence, April 11, 2012
a. To Robert Frankenberry concerning vocal assignments. | ||||||||||||||
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