THE ROBERT OWEN LEHMAN COLLECTION - of

THE ROBERT OWEN LEHMAN COLLECTION
                                  of
                    AUTOGRAPH MUSICAL MANUSCRIPTS

                         - An Extraordinary Cultural Treasure -

                                                 
                                       Offered for sale by
                                J & J Lubrano Music Antiquarians
                           351 West Neck Road, Lloyd Harbor, NY 11743
                                T 631-549-0672  F 631-421-1677
                        info@lubranomusic.com  www.lubranomusic.com

                          AN INTRODUCTION TO THE COLLECTION

DESCRIPTION

The Robert Owen Lehman Collection consists of approximately 200 original autograph musical
manuscripts by many of the most important composers in the history of the Western tradition including
Bach, Beethoven, Berg, Brahms, Chopin, Debussy, Haydn, Liszt, Mahler, Mendelssohn, Mozart,
Prokofiev, Puccini, Ravel, Schoenberg, Schubert, Schumann, Richard Strauss, Stravinsky and Weber. It
represents what is undoubtedly the finest privately owned collection of musical manuscripts in the world
today. While the majority of the material dates from the Romantic and post-Romantic periods, the
collection includes a number of outstanding manuscripts from the Baroque and Classical periods as well.
It is truly a “museum of musical masterworks.”

Highlights from the Baroque and Classical periods include:

- Johann Sebastian Bach. The cantata Gott, wie dein Name BWV171; the Organ Prelude and Fugue in B
minor BWV544; and the Fantasia in C minor for keyboard from BWV906
- Franz Joseph Haydn. The String Quartet op. 103; the Divertimento in E flat for Orchestra
- Wolfgang Amadeus Mozart. An awe-inspiring group of manuscripts including full scores of no less
than nine complete symphonies (numbers 22-30); three orchestral serenades; the Concertone for Two
Violins and Orchestra K190; the duos for violin and viola K423-424; and the Piano Sonata in A minor
K310. Over 1,000 pages in Mozart’s hand in total.

Highlights from the Romantic period include:

- Ludwig van Beethoven. The Rondo a Capriccio for piano op. 129
- Johannes Brahms. The full score of the composer’s monumental Second Symphony; scores of the
Sonatas for Clarinet and Piano in F minor and E flat major op. 120 nos. 1 and 2
- Frédric Chopin. Ten important manuscripts including the Sonata for Piano in C minor op. 4; the Etudes
op. 10 nos. 3 and 9; and the Grande Valse Brillante op. 18
- Franz Liszt. Of particular significance is the manuscript of Liszt’s famous Piano Sonata in B minor,
regarded as one of the finest works in the genre
- Felix Mendelssohn. Well-represented in various genres, including the full score of the Hebrides
Overture; the Songs Without Words for piano solo op. 30; and the String Quintet op. 18
- Franz Schubert. The full score of the Rondo for Violin and String Orchestra in A major D438; the first
movement for the Sonata for Violin and Piano in G minor
- Robert Schumann. The full score of the Second Symphony in C major op. 61, an important work in the
composer’s oeuvre
- Carl Maria von Weber. The full score of the Second Concerto for Clarinet and Orchestra in E flat
major

Highlights from the post-Romantic period include:

- Bela Bartok. Piano Sonata op. 1
- Alban Berg. Considering Berg’s relatively small output, it is impressive that the collection includes
seven significant manuscripts in his hand, including a portion of his avant-garde opera Wozzeck inscribed
to his teacher and fellow composer, Arnold Schoenberg; the Three Pieces for Orchestra op. 6; and the
Concert Aria for Voice and Orchestra (Der Wein)
- Claude Debussy. Particularly well-represented in the collection, with manuscripts of Pelléas et
Mélisande; the Prélude à l’Après Midi d’un Faune; Images; Jeux; Iberia; and the Préludes for piano, all
major works in the composer’s oeuvre
- Gustav Mahler. Remarkable holdings including full scores of both the Symphony No. 3 and the
Symphony No. 9; the third movement and a portion of the last movement of Symphony No. 2;
manuscripts of portions of Symphony No. 4 and Symphony No. 5; the full score of Das Lied von der
Erde; and manuscripts of portions of both the Kindertotenlieder and Des Knaben Wunderhorn. Over 900
pages in Mahler’s hand in total.
- Serge Prokofiev. Piano Concerto No. 5; piano scores of two ballets, Chout and Le Pas d’Acier
- Giacomo Puccini. Manuscripts of Acts I and II of La Fanciulla del West, his opera inspired by the
American West; a draft of Act II of Madama Butterfly including the famous Flower duet
- Maurice Ravel. Complementing the exceptionally strong Debussy holdings is the equally impressive
archive of Ravel manuscripts, including the full score of what is frequently reported as the single most
often performed work of Western music, Bolero; Ravel’s famous orchestration of Mussorgsky’s Pictures
at an Exhibition; the Piano Concerto for the Left Hand and Orchestra; L’Enfant et les Sortileges; and
L’Heure Espagnole
- Arnold Schoenberg. Of the four manuscripts in the hand of Schoenberg, the leader of the Second
Viennese School, the collection holds the manuscript of one of this composer’s most famous works,
Pierrot Lunaire
- Richard Strauss. The symphonic fantasy in G major Aus Italien; sketchbooks with substantial drafts of
Der Rosenkavalier and Die schweigsame Frau
- Igor Stravinsky. Manuscripts of some of his most famous ballets including The Firebird, Petrouchka
and Les Noces

HISTORY

The Lehman Collection took nearly five decades to build, and a number of the manuscripts in the
collection have a highly distinguished provenance. Previous owners include pianist Alfred Cortot; cellist
and close friend of Chopin August Franchomme; musicologist Max Friedlaender; early 19th century
pioneering musicologist and collector Aloys Fuchs; pianist and life-long friend of Ravel Lucien Garban;
composers Charles Gounod and Michael Haydn; violinist and friend of Ravel Hélène Jourdan-
Morhange; distinguished collector Louis Koch of Frankfurt, Germany; Gustav Mahler’s widow Alma
Mahler; Russian choreographer and ballet dancer Léonide Massine; French composer, music critic and
pupil of Ravel Roland-Manuel; great patron of the arts Princess Edmond de Polignac; Mahler’s
nephew, son of Arnold Rosé, founder of the Rosé Quartet, Alfred Rosé; pianist Arthur Rubinstein;
Swiss music critic and Richard Strauss biographer Willi Schuh; composer and pianist Clara Schumann;
noted 19th century collector Edward Speyer; leading 19th century French mezzo-soprano and composer
Pauline Viardot; and the noted late 18th-early 19th century Wilhelm Collection.

Of all of the previous owners, Alfred Cortot (1877-1962), whose important collection was formed in the
early part of the 20th century, features most often. It would be nearly impossible for a collection of this
quality and depth to be replicated today as there are so few important musical manuscripts still remaining
in private hands and thus potentially available to the market.

The collection is currently on loan to the Morgan Library and Museum in New York City, which is very
interested in adding it to its permanent holdings providing that funding can be secured. An acquisition by
the Morgan would contribute significantly to the permanent musical resources of New York City by
complementing the outstanding collections at such repositories as the New York Public Library and the
Juilliard School. This does not preclude, however, a sale to an institution other than the Morgan, either in
the US or abroad.

The Lehman Collection has come to be regarded throughout the world by scholars, performers and
informed music-lovers alike, as an outstanding resource. The importance of consulting original
manuscripts is well established and cannot be overestimated. The examination of primary source material
is vitally important to our understanding of the creative process involved in musical composition.

PRICE and CONDITIONS OF SALE

The price of the collection is $135 million, a figure fully in keeping with its fair market value, which can
be supported by the public and private sales history of musical manuscripts over the last 50 years. The
sale of the collection is conditional upon its remaining intact and residing in an appropriate educational
institution affording scholarly and public access. It is Mr. Lehman’s intention to use the proceeds from
the sale to establish a foundation to support music education, performance and related activities.

It is hoped that either an individual, a group of individuals, a corporation, or a foundation will donate the
required funds to an appropriate institution, thus enabling it to acquire the collection. This situation
carries with it two significant benefits for the prospective donor. The first, of course, is the potentially
considerable tax advantage that would result from such a charitable gift; the second is the knowledge that
the proceeds from the sale will contribute significantly to the support of the musical community at large,
enabling the funding of projects related to musical education, performance and associated activities at a
time when such financing is seriously threatened by both the loss of government support and ever-
diminishing private sources.

A SHORT-TITLE LIST
                          A full descriptive inventory is available upon request

             - - - All manuscripts are in the hand of the composer unless otherwise noted - - -

1. BACH, Johann Sebastian. [BWV 171]. “Gott, wie dein Name, so ist auch dein Ruhm.” Cantata for
voices and orchestra. 14 pp

2. BACH. [BWV 544]. Organ Prelude and Fugue in B minor. 8 pp.

3. BACH. [from BWV 906]. Fantasia in C minor for keyboard. 2 pp.

4. BARTOK, Bela. Romanian folksong. 2ff. Melody and text.

5. BARTOK. Rondos on Slovak folksongs for piano, nos. 2 and 3. 14 pp.

6. BARTOK. Sonata op. 1 [=op. 19] for piano. 1898. 30 pp. .

7. BARTOK. “Tot nepdal.” Slovak folksong for piano. 1 p.

8. BEETHOVEN, Ludwig van. [Op. 129]. “Rondo a capriccio” for piano. 8 pp.

9. BEETHOVEN. [Mozart]. Beethoven’s transcription of the first 41 bars and the last 14 bars of Mozart’s
Fugue in C minor K426. 4 pp.

10. BEETHOVEN. [Mozart]. Beethoven’s transcription of the last 42 measures of Mozart’s Fugue in C
minor K426. 2 pp.

11. BERG, Alban. [Op. 3]. String quartet. Copyist’s manuscript. With inscription signed to Schoenberg.
22 pp.

12. BERG. [Op. 4, nos. 3 and 4]. “Über die Grenzen des All and Nichts ist gekommen” for voice and
piano. From the 5 Orchestra Songs. Copyist’s manuscript with autograph annotations. 6 pp.

13. BERG. [Op. 6]. Three pieces for orchestra. Full score. 93 pp.

14. BERG. “Schliesse mir die Augen beide” for voice and piano. 2 pp.

15. BERG. “Der Wein.” Concert aria for voice and orchestra. Condensed score. 29 pp.

16. BERG. “Wozzeck.”Act II, Scene 3. Full score. With a signed inscription to Arnold Schoenberg. 18
pp.

17. BERG. “Wozzeck.” Opera in 3 acts. Copyist’s manuscript. With Berg’s autograph inscription.

18. BLOCH, Ernest. "Schelomo.” The composer’s arrangement for cello and piano. 38 pp.

19. BRAHMS, Johannes. [Op. 15]. Concerto no. 1 for piano and orchestra in D minor. Complete solo
piano part and orchestral passages reduced for piano, both in Brahms’s and a copyist’s hand. 55 pp.

20. BRAHMS. [Op. 29, no. 2]. "Schaffe in mir, Gott, ein rein Herz.” Motet for 5 voices a capella. 10 pp.

21. BRAHMS. [Op. 39]. 16 Waltzes for piano duet. 16 pp.

22. BRAHMS. [Op. 67]. String Quartet no. 3 in B flat major. Score. 55 pp.

23. BRAHMS. [Op. 73]. Symphony no. 2 in D major. Full score. 132 pp.

24. BRAHMS. [Op. 91, no. 2]. "Geistliches Wiegenlied." Song for voice, piano and viola. 8 pp.

25. BRAHMS. [Op. 120, nos. 1 and 2]. Sonatas for Clarinet and Piano in F minor and E-flat major. Score
and solo part to both works. 67 pp. With a signed inscription to the clarinetist Richard Muehlfeld.

26. BRAHMS. [Schubert]. The composer’s arrangement of 15 dances for piano by Schubert, D366/4 and
12 (piano two-hands), D814/1-4 (piano four-hands) and D366/9, 10, 1, 13, 6, 2, 8, 3 and 5 (piano two
hands. 7 pp.

27. CHOPIN, Frédéric. [Op. 2]. Variations on Mozart’s "La ci darem la mano" for piano and orchestra.
Full score. 66 pp.

28. CHOPIN. [Op. 4]. Sonata for piano in C minor. 23 pp.

29. CHOPIN. [Op. 10, no. 3]. Étude for piano in E major. 2 pp.

30. CHOPIN. [Op. 10, no. 9]. Étude for piano in F minor. 2 pp.

31. CHOPIN. [Op. 15, no. 3]. Nocturne for piano in G minor. 1 p. A draft from measure 86 to the
conclusion.

32. CHOPIN. [Op. 18]. Grande Valse Brillante in E flat major. 4 pp.

33. CHOPIN. [Op. 28, no. 14]. Unidentified composition, possibly a draft for the Prelude in E flat minor.
l p.

34. CHOPIN. [Op. 48, nos. 1 and 2]. Nocturne in C minor and Nocturne in F sharp minor. 20 pp.

35. CHOPIN. [Op. 65]. Sonata for cello and piano in G minor. 2 pp. Sketches for an unused version of the
Scherzo.

36. CHOPIN. Sketches for a piano method. 19 pp. Manuscript drafts, both textual & musical, for a
projected theoretical work.

37. DALLAPICOLLA, Luigi. “Il prigioniero.” Opera. Condensed score. 72 pp., various sizes.

38. DEBUSSY, Claude. [Op. 10]. “1er Quatuor.” Proof copy of the first edition of the score of the String

Quartet with manuscript corrections, some in Debussy's hand.
39. DEBUSSY. “Les angelus” for voice and piano. 3 pp.

40. DEBUSSY. Fantasy for piano and orchestra. Full score. 125 pp. (lacking pp. 101-104).

41. DEBUSSY. "Fantoches" for voice and piano. 3 pp.

42. DEBUSSY. “Fêtes galantes; En sourdine” for voice and piano. 2 pp.

43. DEBUSSY. “Fêtes Galantes (En Sourdine; Claire de Lune; Fantouches)” for voice and piano. 8 pp. +
title.

44. DEBUSSY. “Gigues.” Short score draft. 7 leaves.

45. DEBUSSY. Iberia. “Les parfums de la nuit" and "Le matin d'un jour de fete." Short score drafts. 11
leaves.

46. DEBUSSY. “Images” for orchestra. Drafts in piano score. 13 pp.

47. DEBUSSY. “Jeux.” Full score. 31 leaves.

48. DEBUSSY. Pélleas et Mélisande, Act IV, Scene 4. Short score draft. 12 leaves.

49. DEBUSSY. Pélleas et Mélisande. Printed proof of the full score with extensive autograph corrections.

50. DEBUSSY. Préludes for piano, Book I. 31 leaves.

51. DEBUSSY. Prélude a l'après-midi d'un faune. Short score. 6 leaves.

52. DEBUSSY. Prélude à l'Après midi d'un Faune. Transcription for 2 pianos. Title + 6 pp.

53. DEBUSSY. “Premier cahier de proses lyriques. De rêve – De Grève – De soir.” For voice and piano.
20 pp.

54. DEBUSSY. “Rodrigue et Chimène.” Short score. 55 leaves, 40 pp., 28 leaves.

55. DEBUSSY. “Suite d'Orchestre”
1. “Fête.” Full score, notated on rectos only. Title + 37 pp.
2. “Ballet.” Full score, notated on rectos only. Title + 18 pp.
3. [“Rêve”- missing]
4. “Cortege et Bacchante.” Full score, notated on rectos only. Title + 34 pp.

56. DEBUSSY. “Suite d'Orchestre” for piano 4 hands
1. “Fete.” 20 pp.
2. “Ballet.” Pp. 21-32
3. “Rêve.” Title + 8 pp.
4. “Cortege et Bacchante.” Title + 11 pp.

57. DEBUSSY. Sketchbook containing sketches for “Images,” “Iberia,” “Préludes” for piano, Book I, and
several other works. 110 pp.

58. DUKAS, Paul. "Ariane et Barbe-Bleue." Drafts of Act II and most of Act III. 103 pp.

59. DUKAS. Sonata for piano in E flat minor. Sketches. 31 pp.

60. FRANCK. [Op. 18]. Prelude, Fugue and Variation from the Six Pieces for organ, op. 18. 10 pp.

61. FRANCK. “Le Chasseur Maudit.” Symphonic poem. Full score. 102 pp.

62. FRANCK. “Le Chasseur Maudit.” Symphonic poem. Franck’s arrangement for piano 4-hands. 33 pp.

63. FRANCK. “Messe à 3 voix.” Franck’s arrangement for voices and organ. 57 pp.

64. FRANCK. "Prélude, Choral et Fugue." 20 pp.

65. FRANCK. "Prélude, aria et final" for piano. 27 pp.

66. FRANCK. Sonata for violin and piano in A major. 46 pp. Inscribed to Eugene Ysaÿe.

67. GRIEG, Edvard. [Op. 68]. “Lyrische Stücke” for piano, op. 68. 15 pp.

68. HAYDN, Joseph. [HII, 24]. Divertimento in E flat for orchestra. 7 pp.

69. HAYDN. [HIII, 83]. String Quartet op. 103. “Andante grazioso" in B flat major and "Menuet ma non
troppo presto" in D minor (with a trio in D major). Score. 6 pp.

70. LISZT, Franz. Concerto for piano and orchestra no. 1 in E flat major. Full score. Copyist’s manuscript
with extensive corrections and revisions in Liszt's hand. 58 pp.

71. LISZT. Hungarian rhapsody no. 17 for piano. 8 pp.

72. LISZT. Sonata for piano in B minor. 29 pp.

73. MAHLER, Gustav. “Blicke mir nicht in die Lieder” for voice and orchestra. Full score. 8 pp.

74. MAHLER. “Kindertotenlieder” for voice and orchestra. Full score. 61 pp.

75. MAHLER. “Kindertotenlieder” nos. 2-5 for voice and piano. 12 pp.

76. MAHLER. “Des Knaben Wunderhorn: Des Antonius Padua Fischpredigt” for voice and piano. 4 pp.

77. MAHLER. “Des Knaben Wunderhorn: Lied des Verfolgten im Thurm” for voice and piano. 5 pp.

78. MAHLER. “Des Knaben Wunderhorn: Rheinlegendchen” for voice and orchestra. Full score. 2 pp.

79. MAHLER. “Des Knaben Wunderhorn: Der Tamboursg'sell” for voice and orchestra. Full score. 16
pp.

80. MAHLER. “Des Knaben Wunderhorn: Der Tamboursg'sell” for voice and piano. 2 pp.

81. MAHLER. “Des Knaben Wunderhorn: Wo die schönen Trompeten blasen” for voice and piano. 4 pp.

82. MAHLER. “Das Lied von der Erde: Das Trinklied von Jammer der Erde; Der Einsame im Herbst;
Von der Schönheit; Der Trunkene im Frühling; Der Abschied” for vocal soloists and orchestra. Full score.
204 pp.

83. MAHLER. “Das Lied von der Erde: Von der Schonheit” for voice and orchestra. Full score. 20 pp.

84. MAHLER. Symphony no. 2. Full score of the third movement. 46 pp.

85. MAHLER. Symphony no. 2. Portion of last movement. Short-score draft from the last movement. 2
pp.

86. MAHLER. Symphony no. 3 in D minor. Full score. 296 pp.

87. MAHLER. Symphony no. 3. “Was mir die Morgenglocken erzahlten” for voices and orchestra. 4 pp.

88. MAHLER. Symphony no. 4. Short score draft of the third movement. 6 leaves + 4 pp.

89. MAHLER. Symphony no. 5. Scherzo. Sketches. 33 pp.

90. MAHLER. Symphony no. 9. Full score. 252 pp.

91. MENDELSSOHN-BARTHOLDY, Felix. [Op. 7, no. 2]. “Characterstücke” for piano. With three
additional works for piano: Allegro in C major; Allegro molto in B minor; Andante in D major. 4 pp.

92. MENDELSSOHN-BARTHOLDY. [Op. 14]. “Rondo capriccioso” for piano. 4 pp. For piano

93. MENDELSSOHN-BARTHOLDY. [Op. 18]. String quintet no. 1 in A major. 44 pp.

94. MENDELSSOHN-BARTHOLDY. [Op. 30]. “Lieder ohne Worte” for piano. 9 pp.

95. MENDELSSOHN-BARTHOLDY. [Op. 62, nos. 5 and 6]. “Lieder ohne Worte” for piano:
“Venetianisches Gondellied” and “Frühlingslied.”4 pp.

96. MENDELSSOHN-BARTHOLDY. The Hebrides Overture. Full score. 42 pp.

97. MENDELSSOHN-BARTHOLDY. “Die Heimkehr aus der Fremde.” Full score. 102 pp.

98. MENDELSSOHN-BARTHOLDY. “Die Liebende schreibt” for voice and piano. 3 pp.

99. MENDELSSOHN-BARTHOLDY. “Reiselied” for voice and piano. 2 pp.

100. MENDELSSOHN-BARTHOLDY. Symphony no 3 in E minor for string orchestra. Full score. 9 pp.

101. MOZART, Wolfgang Amadeus. [K162]. Symphony no. 22 in C major. Full score. 40 pp.

102. MOZART. [K181]. Symphony no. 23 in D major, K162b/181]. Full score. 47 pp.

103. MOZART. [K182]. Symphony no. 24 in B flat major, K173dA/182]. Full score. 40 pp.

104. MOZART. [K183]. Symphony no. 25 in G minor, K173dB/183]. Full score. 76 pp.

105. MOZART. [K184]. Symphony no. 26 in E flat major, K161a/184. Full score. 48 pp.

106. MOZART. [K190]. Concertone for 2 solo violins and orchestra. K190. Full score. 84 pp.

107. MOZART. [K199]. Symphony no. 27 in G major, K161b/199]. Full score. 52 pp.

108. MOZART. [K200]. Symphony no. 28 in C major, K189/200]. Full score. 67 pp.

109. MOZART. [K201]. Symphony no. 29 in A major, K186a/201]. Full score. 79 pp.

110. MOZART. [K202]. Symphony no. 30 in D major, K186b/202]. Full score. 55 pp.

111. MOZART. [K203]. Serenade for orchestra in D major. K203. Full score. 108 pp.

112. MOZART. [K204]. Serenade for orchestra in D major. K204. Full score. 101 pp.

113. MOZART. [K250]. Serenade for orchestra (the “Haffner”) in D major. K250. Full score. 157 pp.

114. MOZART. [K310]. Sonata for piano in A minor, K310. 11 pp.

115. MOZART. [K371]. Rondo for horn and orchestra in E flat major, K371. Full score. 20 pp.

116. MOZART. [K423, 424]. Duos for violin and viola K423-424. 16 pp.

117. MOZART. [K426]. Fugue for 2 pianos in C minor, K426. 5 pp.

118. PROKOFIEV, Sergey. “Chout.” Short score of the ballet. 53 pp.

119. PROKOFIEV. “Le pas d'acier.” Piano score of the ballet. 22 pp.

120. PROKOFIEV. Piano Concerto no. 5. Short score in both autograph and copyist’s hands. 41 pp.

121. PUCCINI, Giacomo. “La Fanciulla del West” [“The Girl of the Golden West”]. Opera. Short score
draft of Acts I and II. 364 pp.

122. PUCCINI. “Madama Butterfly.” Draft of Act II from the “flower duet” to shortly before the
“humming chorus.” 26 pp.

123. RAVEL, Maurice. “Bolero” for orchestra. Full score. 37 leaves.

124. RAVEL. “Chanson Madecasses” for voice and piano. Sketches. 3 pp.

125. RAVEL. “Chants populaires: Chanson hébraïque” for voice orchestra. 3 pp.

126. RAVEL. Concerto for the piano left hand and orchestra. Full score. 53 pp.

127. RAVEL. “L'enfant et les sortileges.” Piano-vocal score. 75 pp.

128. RAVEL. “L'heure espagnole.” Piano-vocal score. 64 pp.

129. RAVEL. “Jeux d'eau” for piano. 7 pp.

130. RAVEL. “Farfadetes” for piano. Sketches. 1 p.

131. RAVEL. “Fugato” for piano trio. Sketches. 2 pp.

132. RAVEL. “Gaspard de la Nuit.” Proof copy of the first edition with autograph corrections and
annotations.

133. RAVEL. “Ma mère l'oye. Pavane de la belle au bois dormant” for piano four-hands. 2 leaves.

134. RAVEL. “Mélodies hébraïques” for voice and orchestra. Full score. 13 pp.

135. RAVEL. “Miroirs. Noctuelles” for piano. 4 pp.

136. RAVEL. “Morgiane.” Sketches, possibly for an unrealized opera-ballet. 2 pp.

137. RAVEL. “Noël des Jouets.” First edition with autograph corrections.

138. RAVEL. "La nonne maudite" for piano. Sketch. 1 p.

139. RAVEL. "Passacaille" for piano and strings. 1 p.

140. RAVEL. “Rhapsodie espagnole” for two pianos of part of the “Prélude a la nuit.” Sketches. 3 pp.

141. RAVEL. Sonata for Piano and Violin. Score. 21 pp.
Bound with 8 autograph letters, 3 postcards and 1 letter from Durand.

142. RAVEL. Sonata for Violin and Cello. Sketches. 2 pp.

143. RAVEL. Sonata for Violin and Cello, movements 2-4. Score. 20 pp.
Bound with 3 autograph letters and a copy of the first edition.

144. RAVEL. “Le tombeau de Couperin” for piano. 20 pp.

145. RAVEL. “Le tombeau de Couperin” for orchestra. Full score. 26 pp.

146. RAVEL. “Le tombeau de Couperin.”A draft in full score of Ravel’s orchestral arrangement. 16 pp.

147. RAVEL. “Tzigane” for violin and orchestra. Full score. 19 pp.

148. RAVEL. “Tzigane.” First edition with autograph corrections.

149. RAVEL. “La valse” for two pianos. Ravel’s own arrangement. 22 pp.

150. RAVEL.. “La valse” for two pianos. A working manuscript. 25 pp.

151. RAVEL. “La valse. Poème chorégraphique” for orchestra. Full score. 75 pp.

152. RAVEL. Unidentified sketches for piano. 2 pp.

153. RAVEL. Unidentified sketches for two works, one for chorus and orchestra. 2 pp.

154. RAVEL. [Beethoven]. Sketches for a piano transcription of Beethoven's “Coriolanus” overture. 2 pp.

155. RAVEL. [Chabrier]. “Pièces pittoresques.” A draft of Ravel’s orchestration of Chabrier’s “Menuet
pompeux.” Full score. 4 pp.

156. RAVEL. [Chopin]. Ravel’s orchestral arrangement of Chopin’s Étude for piano, op. 10, no. 11 in E
flat major. Full score draft. 1 p.

157. RAVEL. [Mussorgsky].” Pictures at an Exhibition.” Ravel’s working manuscript of his orchestration
of Mussorgsky’s work. Full score. 99 pp.

158. RAVEL. Unidentified sketches for piano trio. 2 pp.

159. ROUSSEL, Albert. 3rd Symphony, op. 42, third movement. Short score. 6 pp.

160. ROUSSEL. “Psalme LXXX, op. 37.” Short score. Title + 31 pp.

161. SATIE, Erik. “Le fils des etoiles” for piano. Preludes to Acts I-III. 12 leaves.

162. SCHOENBERG, Arnold. “Das Buch der hängenden Gärten,” nos. 3, 4, 5, and 8, for voice and piano.
4 pp.

163. SCHOENBERG. “Kammersymphonie” for 15 solo instruments. Full score. 56 pp.

164. SCHOENBERG. “Pierrot Lunaire” for voice and instrumental ensemble. Full score. 85 pp.

165. SCHOENBERG. “Unentrinnbar,” no. 1 from Four Pieces for Mixed Choir, op. 27, no. 1. Score. 2
pp.

166. SCHUBERT, Franz. [D408]. Sonata for Violin and Piano in G minor. The first movement in score. 6
pp.

167. SCHUBERT. [D438]. Rondo for violin and string orchestra in A major. Full score. 26 pp.

168. SCHUBERT. 3 songs for voice and piano:
- [D545]. “Der Jüngling und der Tod.” 4 pp.
- [D546]. “Trost im Liede.” 4 pp.
- [D547]. “An die Musik.” 2 pp.
169. SCHUBERT. [D786]. “Viola,” song for voice and piano. 22 pp. For voice and piano. Text in

Schubert’s hand, the music in a copyist’s hand with autograph corrections and additions.

170. SCHUBERT. [DAnhang II, 4]. Psalm no. 8. Schubert's arrangement of Maximillian Stadler’s setting
of the 8th psalm for voice, 2 oboes, 2 trumpets, timpani, violins, violas and organ. 15 pp.

171. SCHUMANN, Robert. [Op. 7]. “Toccata for piano.” 8 pp.

172. SCHUMANN. [Op. 21, no. 2]. “Noveletten” for piano. 6 pp.

173. SCHUMANN. [Op. 61]. Second Symphony in C Major. Full score. 246 pp. Inscribed by Clara
Schumann.

174. SCHUMANN. [Op. 68]. “Album für die Jugend. 1 p. textual manuscript.

175. SCHUMANN. [Op. 96, nos. 1 and 2]. “Lieder und Gesänge.” For voice and piano. 3 pp. Inscribed
by Clara Schumann.

176. STRAUSS, Richard. [Op. 7]. Serenade for wind instruments. Full score. 41 pp.

177. STRAUSS. [Op. 23]. “Macbeth,” A Tone Poem for Orchestra. Full score. 79 pp.

178. STRAUSS. [Op. 27]. 4 songs for voice and piano. 11 pp.

179. STRAUSS. [Op.80]. “Die schweigsame Frau.” Sketchbook containing drafts of Act III. 46 pp.

180. STRAUSS. "Aus Italien,” Symphonic Fantasy in G major for orchestra. Full score. 172 pp.

181. STRAUSS. “Der Rosenkavalier.” Sketchbook for Act II. 99 pp.

182. STRAVINSKY, Igor. “Le baiser de la fée.” Ballet arranged for piano. Copyist’s manuscript with
autograph title and page 1. 76 pp.

183. STRAVINSKY. “Chant du Rossignol” for orchestra. Full score. Title + 90 pp.

184. STRAVINSKY. “Chant du Rossignol.” Drafts and sketches in both full and short score. 30 pp.

185. STRAVINSKY. “Deux Poèsies de Balmont” for voice and piano. 10 pp.

186. STRAVINSKY. "Les noces." Ballet. Drafts in full and short score. 34 pp.

187. STRAVINSKY. “L'oiseau de feu.” Stravinsky’s own arrangement for piano. 44 pp.

188. STRAVINSKY. “L'oiseau de feu.” Ballet. First edition of the piano score with numerous autograph
annotations and revisions.

189. STRAVINSKY. “Petrouchka.” Full score. 174 pp.

190. STRAVINSKY. “Petrushka.” Working manuscript. Full score. 130 pp.
191. STRAVINSKY. "Petrouchka." Version for piano two-hands. Title + 82 pp.

192. STRAVINSKY. "Piano Rag Music" for piano. Title + 8 pp.

193. STRAVINSKY. “Ragtime” for piano. 8 pp.

194. STRAVINSKY. "Renard," a burlesque in song and dance. Short score. 77 pp.

195. STRAVINSKY. "Scherzo Fantastique" for orchestra. Full score. 64 pp.

196. STRAVINSKY. Sonata for two pianos. Score. 41 pp.

197. STRAVINSKY. “Sonate pour Piano.” 16 pp.

198. STRAVINSKY. “Trois Poèsies de la Lyrique Japonaise: Akahito, Mazatsumi, Tsaraiuki.” For
orchestra and in piano reduction. 15 pp. in total.

199. VILLA-LOBOS, Heitor. “Uirapurú (The Magic Bird).” Full score. Title + 80 pp.

200. WEBER, Carl Maria von. Concerto no. 2 for clarinet and orchestra in E flat major. Full score. 72 pp.