Colombina de Hoy, ballet en 1 acto para dos pianos, op. 25, [1]933

]> urn:hdl:loc.mus/eadmusic.mu003005 Jacobo Ficher Collection Processed by the Music Division of the Library of Congress Music Division, Library of Congress

Washington, D.C.

2003 Guides to Special Collections in the Music Division of the Library of Congress Finding Aid encoded by Library of Congress Music Division, 2003 eng Collection Summary Jacobo Ficher collection1864-1997 (bulk 1919-1978) ML31.F47 Ficher, Jacobo, 1896-1978. 73 linear ft. 68 boxes ca. 6,000 items Music Division Library of Congress

Washington, D.C.

The collection comprises practically all the composer's works, mainly holograph ms. scores in all major categories of composition. It also includes documents, correspondence (to and from Leonard Bernstein, Carlos Chávez, Elizabeth Sprague Coolidge, Aaron Copland, Henry Cowell, Vivian Fine, Alberto Ginastera, Paul Kletzki, Nicolai Malko, Eugene Ormandy, Arthur Rubinstein, Nicolas Slonimsky, Leopold Stokowski, and others), writings, programs, and scrapbooks. Selected Search Terms

The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by personal names, subjects, and listed alphabetically therein.

Personal Names: Bernstein, Leonard, 1918- --Correspondence. Chávez, Carlos, 1899- --Correspondence. Coolidge, Elizabeth Sprague, 1864-1953--Correspondence. Copland, Aaron, 1900- --Correspondence. Cowell, Henry, 1897-1965--Correspondence. Ficher, Jacobo, 1896-1978--Autographs. Ficher, Jacobo, 1896-1978--Correspondence. Ficher, Jacobo, 1896-1978. Fine, Vivian, 1913- --Correspondence. Ginastera, Alberto, 1916- --Correspondence. Kletzki, Paul--Correspondence. Malko, Nicolai, 1883-1961--Correspondence. Ormandy, Eugene, 1899-1985--Correspondence. Rubinstein, Artur, 1887- --Correspondence. Slonimsky, Nicolas, 1894- --Correspondence. Stokowski, Leopold, 1882-1977--Correspondence. Subjects: Musicians--Correspondence. Administrative Information Provenance

Gift; Miguel Ficher; 1998.

Accruals

No further accruals are expected.

Processing History

The Jacobo Ficher Collection was processed in 1999 by Susana Salgado with assistance from Kevin LaVine for the translation of Russian documents and letters, and to Wilda Heiss for her advice in the processing of this collection. We are indebted to Dr. Miguel Ficher for his continuous support and collaboration. This Finding Aid was prepared with Corel WordPerfect 8. In 2003, Michael A. Ferrando coded and edited the finding aid for EAD format.

The status of copyright on the materials of the Jacobo Ficher collection is governed by the Copyright Law of the United States (Title 17, U.S.C.).

Restrictions

Certain restrictions to use or copying of materials may apply.

Preferred Citation

Researchers wishing to cite this collection should include the following information: container number, the Jacobo Ficher collection, Music Division, Library of Congress, Washington, D.C.

Biographical Sketch Date Event 1896 On January 15 Jacobo (Iakov) Ficher was born in Odessa, Russia to Alexander Ficher (Odessa, 1864 - Buenos Aires, 1937), trombonist of the Odessa Philharmonic Orchestra, and his wife Iente Mirl (Elena) Gotz. 1901 He began violin studies at five, but they were soon interrupted due to his mother's death. 1903 His violin studies continued with professors, Piotr S. Stoliarsky and M. T. Hait. 1912 He applied to the Saint Petersburg Conservatory at sixteen. After being admitted, he travelled alone to the imperial capital and began his academic musical studies. He studied violin under Sergei Korguieff and Leopoldo Auer, and fugue, harmony, counterpoint, composition and orchestration with Vasili Kalafati, Maximilian Steinberg, Nikolay Tcherepnin and Nicolai Sokoloff. 1917 He graduated from the conservatory (then the Petrograd Conservatory) as a "Free Artist." 1917-1923 He composed his first works: songs, and piano and violin pieces. 1919 Winner of an orchestra competition judged by Alexander Glazounov, he was appointed concertmaster of the ex-Imperial Opera Orchestra (renamed the Academic Opera Orchestra). However, he remained in that position for a short period after seeing, when he came back to Odessa, the deprivation that the city began to suffer. 1919 On August 1 he was soloist in Bruch's G minor Violin Concerto with the Soviet Odessa Philharmonic under conductor L. P. Steinberg. 1920 In Odesssa on June 3 [16 in Gregorian calendar] he married the pianist Ana Aronberg, a pupil at the Odessa Conservatory. 1921 Due to the famine and persecution in Odessa the couple and members of their family flew to Poland. 1923 On February 10 Jacobo Ficher, his wife, younger brother, sister-in-law, and his father with his second wife arrived in Buenos Aires, Argentina and established themselves there. 1923 Being the peak of the Carnival season in Buenos Aires, he was engaged the day after his arrival to play the violin and provide music at masked balls. 1923 Later on, he formed with his wife, his father and his younger brother Rachmiel (who played the cello) a small orchestra to play at silent movies in a Buenos Aires cinema. Due to an exhausting playing schedule they resigned, but soon were contracted by a posh Buenos Aires hotel to play popular music and also medleys of classical composers. 1923 On June 24 his first child, a son Miguel, was born. 1924 He composed his first orchestral work, Suite no. 1 1927-1928 With Poema heroico Op. 7 he shared with Dmitri Shostakovich the only two second prizes awarded in a contest organized by the Leningrad Philharmonic Orchestra. 1928 On February 7 his second child, a daughter Myra, was born. 1929 He won two prizes: the Municipality of Buenos Aires Prize for his first string quartet and the Asociación del Profesorado Orquestal Prize for Obertura patética, Op. 11 1929 He co-founded the Grupo Renovación with Juan José Castro, José María Castro, Juan Carlos Paz, and Gilardo Gilardi. 1929 He received the Asociación del Profesorado Orquestal Prize for Exodus-Obertura para orquesta sinfónica, Op. 11 1931 He won again the Municipality of Buenos Aires Prize for Sulamita, poema de amor, Op. 8 for orchestra. 1932 Again, he won the Asociación del Profesorado Orquestal Prize for Tres bocetos sinfónicos inspirados en el Talmud, Op. 17. 1932 He was nominated conductor of the Orchestra Asociación del Profesorado Orquestal. 1933 He was also nominated conductor of the Radio Nacional, Radio Municipal, and Radio Belgrano orchestras. 1936 He was the winner of second prize for La rosa muerta, poema para coro mixto y piano, Op. 34, in a contest sponsored by the Idelssohn Asociation of Johannesburg, Sud Africa. 1937 He received the Coolidge Prize for his second string quartet at the Festival de Música de Cámara Panamericana, Mexico City. 1939 He was nominated conductor of the AGMA (Asociación General de Músicos de la Argentina) Symphonic Orchestra and Music Director of Radio Splendid. 1940 He was the winner of the Comisión Nacional de Cultura First Prize for his Symphony No. 3. 1941 Again, he received the Municipality of Buenos Aires Prize for his Piano Sonata No. 1. 1942 He accepted the E.A. Fleisher Collection Prize for his Violin Concerto, Op. 46. 1943 He became professor of Harmony at the Asociación General de Músicos de la Argentina. 1947 He founded the Liga de Compositores de la Argentina. 1952 He received the Asociación Wagneriana Carlos López-Buchardo Prize for his fourth string quartet. 1954 On November 7, his Tercera suite para orquesta de cámara, Op. 78 was premiered by the Indianapolis Orchestra under Fabien Sevinsky. 1954 In November-December he was invited to the Festival de Música Latinoamericana de Caracas, where his cantata Salmo de Alegría was performed. 1956 He was appointed Professor of Harmony at the Escuela Superior de Música de la Universidad de La Plata. 1957 In March he was invited to the II Festival de Música Latinoamericana, Caracas and conducted his Obertura para Don Segundo Sombra. 1957 In September he won Second Prize at the Festival Interamericano de Música, Montevideo, for his saxophone quartet. 1958 He was appointed Professor of Composition at Buenos Aires National Conservatory and Musical Advisor to the Fondo Nacional de las Artes. 1958 On August 14 his Oda a la Libertad, Op. 90 was premiered by Jean Fournier. 1960 He received the Grand Prize "Sesquicentenario de la Revolución de Mayo" for his Symphony No. 7, Op. 92 Epopeya de Mayo. 1961 During March at the Festival of Contemporary Music in Miami, the Suite for Chamber Orchestra was performed. 1961 In November he received the Argentinean Mozarteum Prize (Academia Nacional de Bellas Artes) for his piano quintet. 1963 On August 29 his cantata Mi aldea, for soloist, choir and orchestra was premiered by Jacques Bodmer. 1963 In December his ballet Los invitados was performed by the Tucson Symphony Orchestra in Arizona. 1964 His Obertura festiva was performed by the Athens Symphony Orchestra under Andreas Paridis. 1965 In August his Piano Sonata Op. 101 was premiered at the IV Festival of Contemporary Music of the Instituto Torcuato Di Tella. 1966 Several concerts were performed in Buenos Aires to celebrate his 70th birthday. Also, Ediciones Culturales Argentinas published his biography by Boris Zipman. 1966 He was appointed Professor of Composition at Buenos Aires Conservatorio Municipal Manuel de Falla. 1967 At a homage in La Plata, he conducted his cantata Salmo de Alegría at the Teatro Argentino. 1968 On November 12 his opera Pedido de mano [The Proposal] was premiered at the Buenos Aires Teatro Presidente Alvear under the conductor Armando Krieger. 1968 He was appointed Professor of Instrumentation at the Teatro Colón's Conservatorio e Instituto. 1968 In December he traveled to Europe with his wife, through invitations by the Israel Composers Association and the British Council. He spent one month in Israel, traveled to Italy, France and England, and visited London under the auspices of the British Council. 1969 In January he traveled to the United States and remained one month in Philadelphia. 1969 In July he was nominated a Member of the Academia Nacional de Bellas Artes. 1969 In September he lectured on his works at the Conservatorio Municipal Manuel de Falla. 1970 His Cinco retratos, Op. 113 for piano was premiered during the II Festival of Argentinean Contemporary Music. 1972 In a concert sponsored by the Fondo Nacional de las Artes his Piano Sonata Op. 118 was premiered. 1974 The Filarmónica de Buenos Aires under Pedro Ignacio Calderón premiered his Capricho argentino, Op. 121 for orchestra at the Teatro Colón. 1976 On July 9 the Orquesta Sinfónica Nacional under Juan Emilio Martini celebrated his 80th birthday. 1976 On July 27 his wife Ana Aronberg Ficher died. 1976 On September 30 the Filarmónica de Buenos Aires under Pedro Ignacio Calderón premiered his Obertura dramática, Op. 130 for orchestra at the Teatro Colón. 1977 On September 5 his Cello Concerto Op. 128 was premiered by the Orquesta Sinfónica Nacional under Juan Carlos Zorzi with Leo Viola as soloist. 1977 A homage was given by the Instituto Luchelli Bonadeo with a concert of his piano works and the presentation of new piano pieces published by the Instituto. 1978 On September 9 Jacobo Ficher died at the age of 82 in Buenos Aires. 1979 On September 8 the Dirección Cultural de la Municipalidad de Buenos Aires organized a tribute to his memory, with introductory words by the Director of Educación, a lecture by Dr. Pola Suárez Urtubey, and a concert of his works. 1988 In November a Memorial Concert was held at the Fleisher Art Memorial in Philadelphia under the auspices of the Leningrad-Philadelphia Sister Cities organization. 1992 On December 15 the Department of Music of New York University presented works by Ficher in a chamber concert. 1999 May 23 his Sinfonía de cámara No. 9, Op. 123 was given a world premiered by the Southern Arizona Symphony Orchestra conducted by Warren Cohen. Scope and Content Note

The Jacobo Ficher Collection reveals a composer who was significantly associated with the Argentinean music of the twentieth century. In addition to being a major creator, he developed a brilliant career as an orchestra conductor, prominent teacher and violinist.

Ficher, born at the end of the nineteenth century in Odessa, Russia, came from a quite artistic family that included many musicians as well as actors on the Russian stage. His father Alexander was a trombonist at the Odessa Philharmonic Orchestra. The young Jacobo began his violin studies when he was five years old. And at sixteen, he moved to Saint Petersburg and was accepted in the Imperial Conservatory where he studied for six years under prominent musicians and pedagogues, such as, Sergei Korguieff and Leopold Auer in violin, and Vasili Kalafati, Maximilian Steinberg, Nikolay Tcherepnin and Nicolai Sokoloff in fugue, harmony, counterpoint, composition and orchestration.

After the revolution life in his native Odessa became very difficult, and the city was soon under a pathetic famine. As a consequence his family decided to emigrate to Poland. At that time the composer was already married to the distinguished pianist Ana Aronberg. But later on all of them, including his father with his second wife, his youngest brother and a sister-in-law traveled to South America and settled in Buenos Aires.

Musical life in the Buenos Aires of the 1920s was very active, and the local composers, many of them trained in Europe, were at the middle of a musical nationalism, based mainly on the integration of native and folk themes into art music. However, a group of young composers were looking toward transitional styles and the new European trends. Ficher fit perfectly into the last category. As a consequence he, together with Juan José and José María Castro, Juan Carlos Paz and Gilardo Gilardi founded, in 1929, the Grupo Renovación, which rapidly became the leading organization for the promotion of a new musical trend in Argentina.

But being a Russian and a Jew with strong musical roots, Ficher used the new languages available, with few incursions into the twelve-tone technique, and blended them with ancient Russian and Jew tunes, specially in his early works. And interesting enough, he was attracted by some Argentinean folk and popular melodies, such as tangos and milongas. His style remained in a conservative balance, with an aside to the most avant-garde examples of his time, and always with an Slavonic influence.

This collection is very complete and comprises practically all the composer's works, mainly holograph manuscript scores in all major categories of composition. It also includes highly interesting additional items, such as, documents, correspondence, writings, programs, and scrapbooks.

The collection includes six series: Music, with a total of 379 items; Biographical materials; Correspondence, with more than 3000 letters; Writings; Programs, with around 500 items, from 1919 to 1997, and finally five scrapbooks of 200 pages each, from 1914 to 1990, with newspaper clippings, critical reviews, concerts programs, pictures, and letters.

The MUSIC series consist of his stage and instrumental output which is significantly extensive. There are 202 items which include four ballets, two operas, ten symphonies, several cantatas, overtures, concertos with soloists, serenatas, as well as other small works. All of them are holograph manuscripts and, in the case of the operas and symphonies, include complete sets of vocal and orchestral parts. Since his two operas El oso [The Bear] and Pedido de mano [The Proposal] are based on Anton Chekov texts, the scores and also the libretti have both Russian and Spanish versions.

The chamber music, which includes 86 items, is quite substantial because it holds, among other works, the composer's major string and wind trios, quartets, and quintets. The Second String Quartet Op. 35 was awarded the Elizabeth Sprague Coolidge Prize, in 1937, and premiered at the Latin American Chamber Music Festival in Mexico City. There are also suites and numerous sonatas written for one or various instrumental combinations.

The vocal output contains about 45 vocal scores, many of them cycles of songs based on texts of Argentinean and other Latin American poets and several choruses "a cappella".

The piano music comprises 46 holograph manuscript scores and includes several major sonatas and sonatinas, several piano cycles based on children fables, and a few pieces for two pianos.

For a complete description of his works, with world premieres dates, orchestras, conductors, interpreters and other details, see the Catalogue of Works in the WRITINGS series.

The BIOGRAPHICAL MATERIALS series consists of several documents written in Russian that belong to the composer, his wife and his family, such as birth and death certificates, passports, identifications, and documents relating to his studies at the Saint Petersburg [Petrograd, Leningrad] Conservatory, as well as the Odessa Conservatory.

The CORRESPONDENCE series, which encompasses approximately 3000 letters received during a period of more than sixty years of Jacobo Ficher's life, show a diverse picture of the composer's correspondents with family, friends, acquaintances, and pupils. Major Latin American composers and conductors as well as European contemporary musicians wrote to him. A substantial amount of letters are in Russian, and span more than sixty years from his pals during his formative youthful years in Odessa and Saint Petersburg, such as, Nicolai Malko, Fabien Sevitsky, Joseph Roisman, Lazare Saminsky. Also, there are several letters from Paul Kletzki, Gregory Stone, Stanislaw Wislocki, Sir Adrian Boult, Hugo Kortschak and others. Half of the correspondence is written in Spanish; the others are in Russian, Italian, Portuguese, French, and English. There are also a few letters in Yiddish. It is interesting to mention the correspondence from Elizabeth Sprague Coolidge and also from Aaron Copland with whom he developed a friendship during Copland's frequent visits to Buenos Aires. It is remarkable how many of the composer's pupils wrote to him during several years from diverse points of the world where they were studying. Those letters are practically diaries about the development of the musical life between the 1950s and 70s principally in France, the United States, and Russia.

The WRITINGS are a small and interesting series, and among other items includes the composer's lectures about his own works, as well as acceptance speeches, and presentations he did in Tel-Aviv during his official trip to Israel. It contains also some lectures by distinguished Argentinean musicologists and critics about the composer's life and works.

The PROGRAMS series contains programs from the early days of the composer's youth in Odessa to world premieres performed after his death in 1978. A singular and valuable item is the program/poster written in Russian with Ficher as soloist in Bruch's G minor Violin Concerto with the Soviet Odessa Philharmonic conducted by L. P. Steinberg, held on August 1, 1919. There is also a big poster announcing the world premiere of his opera Pedido de mano [The Proposal] at Buenos Aires's Teatro Alvear during the 1968 opera season.

The SCRAPBOOKS are five 200-page books, very well organized and numbered by year. There is a weighty amount of critical reviews from Argentinean newspapers and other periodicals from different countries. Also, pasted to these books are photographs, letters, and programs.

Finally, I would like to express my gratitude to Dr. Miguel Ficher for his continuous support and collaboration, to Kevin LaVine for the translation of Russian documents and letters, and to Wilda Heiss for her advice in the processing of this collection.

Susana Salgado, 1999

Organization of the Jacobo Ficher collection

The Jacobo Ficher collection is organized in 6 series:

Music Biographical materials Correspondence Writings Programs Scrapbooks Arrangement of the Jacobo Ficher collection

The Jacobo Ficher collection is arranged in 6 series. Each series is arranged by aphabetically, chronologically, or by genre.

Container List Box Contents 1-54 MUSIC, 1927-1977

Consists of holograph manuscripts and photocopies of full scores, parts, and libretti.

Arranged into five subseries: Stage, Orchestral Works, Chamber Music, Vocal Music, and Piano Music.

1-4 29-33 49 Stage, 1933-1956 1/1 Colombina de Hoy, ballet en 1 acto para dos pianos, op. 25, [1]933 Holograph two-piano scores in ink (piano I/II)

On cover p.: signed and dated by the composer; libreto de Nicolás Evreinoff

29/1 Golondrina, ballet en tres jornadas, op. 47 Holograph full score in pencil

On cover p.: Libreto de Leónidas Barletta, inspirado en "El príncipe feliz" de Oscar Wilde; Wilde; dated by the composer 12-XI-[1]942

29/2 Golondrina, ballet en tres jornadas, op. 47 Holograph piano score in pencil [first draft] 29/3 Golondrina, ballet en tres jornadas, op. 47 Bound holograph full score in ink

Typed text glued at the top of each scene; signed by the composer

29/4 Golondrina, ballet en tres jornadas, op. 47 Bound holograph piano score in ink

Typed text glued at the top of each scene; signed by the composer

29/5 Golondrina, ballet en tres jornadas, op. 47 Typed libretto with description of each number and timing (2 copies) 1/2 Los invitados, ballet en 1 acto, op. 26, para orquesta y dos pianos Holograph full score in pencil

On cover p.: titled in Russian and Spanish, libreto de Boris Romanoff; signed and dated by the composer, 26-IV-[1]933

1/3 Los invitados, ballet en 1 acto, op. 26, para orquesta y dos pianos Holograph full score in ink

On cover p.: libreto de Boris Romanoff; signed and dated by the composer, 28-VI-[1]933

1/4 Los invitados, ballet en 1 acto, op. 26, para orquesta y dos pianos Holograph piano score in ink

At end: signed and dated by the composer, 1933

1/5 Los invitados, ballet en 1 acto, op. 26, para orquesta y dos pianos Copyist's manuscript piano score in ink 1/6 Los invitados, ballet en 1 acto, op. 26, para orquesta y dos pianos Copyist's manuscript orchestral parts in ink 30/1 Melchor, ballet con coros [and orchestra] en 3 actos, op. 40 Holograph full score and choral sketches in pencil and ink [first draft] 31/1 Melchor, ballet con coros [and orchestra] en 3 actos, op. 40 Bound holograph full score in ink

On cover p.: libreto de César Tiempo; signed and dated by the composer, 1938

Typed introduction and choreographic indications glued on the score

31/2 Melchor, ballet con coros [and orchestra] en 3 actos, op. 40 Bound holograph piano-choral score in ink

On cover p.: libreto de César Tiempo; signed and dated by the composer, 8-VII-[1]938

31/3 Melchor, ballet con coros [and orchestra] en 3 actos, op. 40 Typed Spanish libretto; description of acts and scenes

On cover p.: Manuscript comment signed by César Tiempo

32/1 El oso, ópera en 1 acto, libretto Chekov, op. 75, 1952 Holograph cardboard cover

Note: The bear

32/2 El oso, ópera en 1 acto, libretto Chekov, op. 75, 1952 Holograph full score in pencil; p. 1-120

Note: The bear

Russian/Spanish version; signed and dated by the composer 1952

32/3 El oso, ópera en 1 acto, libretto Chekov, op. 75, 1952 Holograph full score in pencil; p. 121-238

Note: The bear

32/4 El oso, ópera en 1 acto, libretto Chekov, op. 75, 1952 Holograph full score (transparency)

Note: The bear

Signed by the composer in Russian and Spanish, dated Dec. 14, 1952

2/1 El oso, ópera en 1 acto, libretto Chekov, op. 75, 1952 Holograph piano-vocal score (transparency)

Note: The bear

Russian/Spanish version; signed by the composer, 1952

On cover p.: Versión castellana de Jacobo y Miguel Ficher

2/2 El oso, ópera en 1 acto, libretto Chekov, op. 75, 1952 Bound ozalid piano-vocal score with marks in red pencil

Note: The bear

On cover p.: Versión castellana de Jacobo y Miguel Ficher, 1952

2/3 El oso, ópera en 1 acto, libretto Chekov, op. 75, 1952 Spiral-bound ozalid piano-vocal score, corrected draft

Note: The bear

On cover p.: Versión castellana de Jacobo y Miguel Ficher

3/1-2 El oso, ópera en 1 acto, libretto Chekov, op. 75, 1952 Ozalid piano-vocal score, corrected draft (2 copies)

Note: The bear

On cover p.: Versión castellana de Jacobo y Miguel Ficher

3/3 El oso, ópera en 1 acto, libretto Chekov, op. 75, 1952 Ozalid piano-vocal score [incomplete draft] p. 3-145

Note: The bear

4/1 El oso, ópera en 1 acto, libretto Chekov, op. 75, 1952 Copyist's manuscript orchestral parts (transparency)

Note: The bear

4/2 El oso, ópera en 1 acto, libretto Chekov, op. 75, 1952 Typed Spanish libretto (3 copies)

Note: The bear

On cover p.: Versión castellana de Jacobo y Miguel Ficher

49/1 Pedido de mano, ópera de cámara en 1 acto, op. 84 Holograph full score in pencil, argumento de Anton Chekov

Note: The proposal

Russian/Spanish version; dated 15-VIII-[1]956

33/1 Pedido de mano, ópera de cámara en 1 acto, op. 84 Holograph full score (transparency)

Note: The proposal

Russian/Spanish version; signed and dated by the composer, 1955-1956

33/2 Pedido de mano, ópera de cámara en 1 acto, op. 84 Holograph piano-vocal score (transparency)

Note: The proposal

Titled by the composer in Russian and Spanish

Russian/Spanish version; signed and dated by the composer, 1955-1956

33/3 Pedido de mano, ópera de cámara en 1 acto, op. 84 Holograph orchestral parts (transparency)

Note: The proposal

Each part signed and dated by the composer, 1955-1956

33/4 Pedido de mano, ópera de cámara en 1 acto, op. 84 Manuscript libretto in Spanish

Note: The proposal

33/4 Pedido de mano, ópera de cámara en 1 acto, op. 84 Typed libretto in Spanish

Note: The proposal

4-19 34-35 49-54 Orchestral Works, 1927-1977 49/2 Algodón, película documental [film score] Holograph full score in pencil

Signed by the composer

50/1 Kadish cantata, per solisti, coro ed orchestra, op. 112; poema de Arminda Ralesky Holograph full score in pencil

Note: Cantata

Signed and dated by the composer, 5-XII-1969

50/2 Kadish cantata, per solisti, coro ed orchestra, op. 112; poema de Arminda Ralesky Bound ozalid full score

Note: Cantata

50/3 Kadish cantata, per solisti, coro ed orchestra, op. 112; poema de Arminda Ralesky Holograph full score (transparency)

Note: Cantata

Signed and dated by the composer, 1969

50/4 Kadish cantata, per solisti, coro ed orchestra, op. 112; poema de Arminda Ralesky Typed texts in Spanish, English, Italian, German and French

Note: Cantata

4/5 Kadish cantata, per solisti, coro ed orchestra, op. 112; poema de Arminda Ralesky Holograph piano-vocal score (transparency)

Note: Cantata

Signed and dated by the composer, 1969

5/1 Kadish cantata, per solisti, coro ed orchestra, op. 112; poema de Arminda Ralesky Holograph orchestral parts (transparency)

Note: Cantata

Signed and dated by the composer, 1969

5/2 Kadish Laico (Requiem) Printed original poem Kadish Laico (Requiem) and photocopy, both with pencil annotations by the composer

Dedicated to the composer

49/3 Mi aldea, cantata para soprano, contralto, tenor y orquesta de cámara, op. 91 Holograph full score in pencil

Note: Cantata

Dated by the composer 11-V-[1]958

49/4 Mi aldea, cantata para soprano, contralto, tenor y orquesta de cámara, op. 91 Holograph full score (transparency)

Note: Cantata

Dated by the composer 5-VI-[1]958

4/3 Mi aldea, cantata para soprano, contralto, tenor y orquesta de cámara, op. 91 Holograph piano-vocal score (transparency)

Note: Cantata

4/4 Mi aldea, cantata para soprano, contralto, tenor y orquesta de cámara, op. 91 Holograph orchestral parts (transparency)

Note: Cantata

Signed and dated by the composer, 1958

51/1 Cantata Salmo de Alegría, dedicada al pueblo de Israel, poema de Rafael Alberti, op. 69 Holograph full score in pencil

Dated by the composer 12-XI-[1]949

51/2 Cantata Salmo de Alegría, dedicada al pueblo de Israel, poema de Rafael Alberti, op. 69 Holograph full score (transparency)

Signed and dated by the composer, 1949

51/3 Cantata Salmo de Alegría, dedicada al pueblo de Israel, poema de Rafael Alberti, op. 69 Ozalid full score with marks in red and blue pencil 34/1 Cantata Salmo de Alegría, dedicada al pueblo de Israel, poema de Rafael Alberti, op. 69 Ozalid and holograph choral parts (transparency) 5/3 Cantata Salmo de Alegría, dedicada al pueblo de Israel, poema de Rafael Alberti, op. 69 Holograph orchestral parts (transparency) 34/2 Capriccio Argentino, op. 121 Holograph full score in pencil

Dated by the composer 17-II-1972

34/3 Capriccio Argentino, op. 121 Holograph full score (transparency)

Signed and dated by the composer, 17-II-1972

6/1 Capriccio Argentino, op. 121 Holograph orchestral parts (transparency) 34/4 Cinco sonetos de Shakespeare para voz y orquesta, op. 94, translation Manuel Mujica-Lainez Holograph full score (transparency)

Signed and dated by the composer, 1961

34/5 Cinco sonetos de Shakespeare para voz y orquesta, op. 94, translation Manuel Mujica-Lainez Bound ozalid full score

Signed and dated by the composer, 1961

On cover p.: printed Spanish-text of the sonnets

6/2 Cinco sonetos de Shakespeare para voz y orquesta, op. 94, translation Manuel Mujica-Lainez Holograph piano-vocal score (transparency)

Signed and dated by the composer, 1961

6/3 Cinco sonetos de Shakespeare para voz y orquesta, op. 94, translation Manuel Mujica-Lainez Bound ozalid piano-vocal score

Signed and dated by the composer, 1961

6/4 Cinco sonetos de Shakespeare para voz y orquesta, op. 94, translation Manuel Mujica-Lainez Holograph orchestral parts (transparency)

Signed and dated by the composer, 1961

34/6 Concierto para arpa y orquesta de cámara, op. 85 Holograph full score in pencil

Dated by the composer, 15-IX-[1]955

6/5 Concierto para arpa y orquesta de cámara, op. 85 Holograph full score (transparency)

Signed and dated by the composer, 15-IX-1955

On p. 1: A Nicanor Zabaleta

6/6 Concierto para arpa y orquesta de cámara, op. 85 Holograph piano-harp score (transparency)

Signed and dated by the composer, 15-IX-1955

On p. 1: A Nicanor Zabaleta

6/7 Concierto para arpa y orquesta de cámara, op. 85 Holograph orchestral parts (transparency)

Signed and dated by the composer, 1964

Photocopy of holograph orchestral parts transparency

34/7 Concierto para flauta y orquesta de cámara, op. 107 Holograph full score in pencil

On p. 1: empezado el 24-XII-1967, terminado el 11-I-1968

34/7 Concierto para flauta y orquesta de cámara, op. 107 Holograph piano-flute score in pencil 34/8 Concierto para flauta y orquesta de cámara, op. 107 Holograph full score (transparency)

Signed and dated by the composer, 11-I-1968

7/1 Concierto para flauta y orquesta de cámara, op. 107 Holograph piano-flute score (transparency)

Signed and dated by the composer, 11-I-1968

7/2 Concierto para flauta y orquesta de cámara, op. 107 Holograph orchestral and soloist parts (transparency)

Signed and dated by the composer, 11-I-1968

34/9 Concierto para piano y orquesta no. 1, op. 53 Holograph full score in pencil

Dated by the composer 12/17-III-[1]945

35/1 Concierto para piano y orquesta no. 1, op. 53 Holograph two-piano score in ink with pencil and red pencil notations

Signed and dated by the composer, 8-IV-1945

On cover p.: A Cecilia Benedit de Debenedetti

52/1 Concierto para piano y orquesta no. 2, op. 81 Holograph full score in pencil

Signed and dated by the composer, 17-VI-[1]954

35/2 Concierto para piano y orquesta no. 2, op. 81 Holograph full score (transparency)

Signed and dated by the composer, 1954

On cover p.: A Rodolfo Caracciolo

35/3 Concierto para piano y orquesta no. 2, op. 81 Spiral-bound ozalid full score with emendations in ink and marks in red pencil

Signed and dated by the composer in ink, 1954

On cover p.: A Rodolfo Caracciolo, written in ink

7/3 Concierto para piano y orquesta no. 2, op. 81 Holograph two-piano score (transparency)

Signed and dated by the composer, 1954

7/4 Concierto para piano y orquesta no. 2, op. 81 Holograph orchestral parts (transparency)

Signed and dated by the composer, 1954

36/1 Concierto para piano y orquesta no. 2, op. 81 Ozalid copyist orchestral parts with emendations in ink and pencil; 52 p.

Laid in: missing soloist part

35/4 Concierto para piano y orquesta no. 3, op. 103 Holograph full score in pencil

Dated by the composer, 12-VIII-1964

35/5 Concierto para piano y orquesta no. 3, op. 103 Holograph full score (transparency)

Signed and dated by the composer, 12-VIII-1964

37/1 Concierto para piano y orquesta no. 3, op. 103 Ozalid full score

Signed and dated by the composer in ink, 12-VIII-1964

On p. 2: A Haydée Loustaunau, written in ink

7/5 Concierto para piano y orquesta no. 3, op. 103 Holograph two-piano score (transparency)

Signed and dated by the composer, 12-VIII-1964

7/6 Concierto para piano y orquesta no. 3, op. 103 Holograph orchestral parts (transparency)

Signed and dated by the composer, 1964

37/2 Concierto para violín y orquesta, op. 46 Holograph piano-violin score in pencil [first draft]

Dated by the composer 26-I-[1]942

37/2 Concierto para violín y orquesta, op. 46 Holograph full score in pencil with emendations in ink and marks in red pencil

Dated by the composer 31-I-[1]942

37/3 Concierto para violín y orquesta, op. 46 Holograph full score (transparency)

Signed and dated by the composer 8-II-[1]942

On p. 1: A Anita Sujovolsky

7/7 Concierto para violín y orquesta, op. 46 Holograph piano-violin score and soloist part (transparency)

Signed and dated by the composer 8-II-[1]942

On p. 1: A Anita Sujovolsky

8/1 Concierto para violín y orquesta, op. 46 Holograph orchestral parts (transparency)

Signed and dated by the composer, 1942

37/4 Concerto per violoncello ed orchestra, op. 128 Holograph full score (transparency)

Note: Concierto

Signed and dated by the composer, 22-VIII-1974

37/5 Concerto per violoncello ed orchestra, op. 128 Bound ozalid full score

Note: Concierto

Signed and dated by the composer, 22-VIII-1974

On p. 1: A Luis Walter Pratesi

8/2 Concerto per violoncello ed orchestra, op. 128 Holograph piano-cello score (transparency) and ozalid soloist part

Note: Concierto

Signed and dated by the composer, 22-VIII-1974

8/3 Concerto per violoncello ed orchestra, op. 128 Holograph orchestral and soloist parts (transparency)

Note: Concierto

Signed by the composer

8/4 Concerto per violoncello ed orchestra, op. 128 Ozalid orchestral parts; 55 p.

Note: Concierto

Laid in: description

37/6 Cría de caballos de carrera, film documental [film score] Holograph full score in pencil

Signed and dated by the composer, 3-VII-[1]953

9/1 Dos poemas no. 16 y 42 de "El Jardinero" de R. Tagore, op. 10 Holograph full score in pencil with emendations in ink and red pencil 9/2 Dos poemas no. 16 y 42 de "El Jardinero" de R. Tagore, op. 10 Holograph full score in ink with emendations in blue and red pencil

Dated by the composer, Buenos Aires, 25-I-[1]928

Laid in: printed poems

9/3 Dos poemas no. 16 y 42 de "El Jardinero" de R. Tagore, op. 10 Holograph full score (transparency) 9/4 Dos poemas no. 16 y 42 de "El Jardinero" de R. Tagore, op. 10 Holograph piano score in ink with marks in red pencil

Signed by the composer

9/5 Dos poemas no. 16 y 42 de "El Jardinero" de R. Tagore, op. 10 Holograph orchestral parts (transparency) and clarinet part in ink 37/7 Exodus, obertura, op. 11 Holograph full score in pencil

Signed and dated by the composer, 1928 (Revised in 1960)

Dated by the composer, 27-IV-1960

9/6 Exodus, obertura, op. 11 Holograph full score (transparency) 9/7 Exodus, obertura, op. 11 Holograph orchestral parts (transparency) 37/8 Gaucho, suite de la película [Gaucho], op. 51 [film score] Copyist's full score (transparency) 9/8 Gaucho, suite de la película [Gaucho], op. 51 [film score] Copyist's orchestral parts (transparency) 52/2 Hamlet, cuatro movimientos sinfónicos, op. 67 Holograph full score in pencil

Dated by the composer, 10-XII-[1]948

37/9 Hamlet, cuatro movimientos sinfónicos, op. 67 Bound holograph full score in ink

Signed and dated by the composer, 1942[?]

38/1 Hamlet, cuatro movimientos sinfónicos, op. 67 Holograph full score (transparency)

Signed and dated by the composer, 1948

38/2 Hamlet, cuatro movimientos sinfónicos, op. 67 Bound ozalid full score

Signed and dated by the composer, 15-XII-[1]948

On cover p.: A José María Castro

10/1 Hamlet, cuatro movimientos sinfónicos, op. 67 Holograph orchestral parts (transparency)

Laid in: description

38/3 Obertura dramática, op. 130 Holograph full score in pencil

Dated by the composer, 22-III-1975

38/4 Obertura dramática, op. 130 Holograph full score (transparency)

Signed and dated by the composer, 22-III-1975

10/2 Obertura dramática, op. 130 Holograph orchestral parts (transparency)

Signed and dated by the composer, 1975

Laid in: description

38/5 Obertura festiva, op. 98 Bound ozalid full score with marks in red pencil

Signed and dated by the composer, 1962

38/6 Obertura para "Don Segundo Sombra" de Ricardo Güiraldes, op. 82 Holograph full score (transparency)

Signed and dated by the composer, 1-XI-[1]954

10/3 Obertura para "Don Segundo Sombra" de Ricardo Güiraldes, op. 82 Holograph orchestral parts (transparency)

Signed and dated by the composer, 1954

38/7 Oda a la libertad, op. 90, para voz recitante y orquesta, poema de José Isaacson Holograph full score (transparency)

Signed and dated by the composer, 1957

39/1 Oda a la libertad, op. 90, para voz recitante y orquesta, poema de José Isaacson Bound ozalid full score

Signed and dated by the composer, 1957 (2 copies)

Copy 1: with marks in pencil

10/4 Oda a la libertad, op. 90, para voz recitante y orquesta, poema de José Isaacson Holograph piano-speaker score (transparency)

Signed and dated by the composer, 1957

11/1 Oda a la libertad, op. 90, para voz recitante y orquesta, poema de José Isaacson Holograph orchestral parts (transparency)

Signed and dated by the composer, 1957

39/2 El organillero, poema sinfónico, op. 41, poema de Leónidas Barletta [bass soloist] Holograph full score (transparency)

Signed and dated by the composer, 1940

11/2 El organillero, poema sinfónico, op. 41, poema de Leónidas Barletta [bass soloist] Holograph piano-vocal score (transparency)

Signed and dated by the composer, 1940

Score incomplete (6 bars missing), revised in 1950

11/3 El organillero, poema sinfónico, op. 41, poema de Leónidas Barletta [bass soloist] Holograph orchestral parts (transparency)

Signed and dated by the composer, 1940

11/4 Poema heroico, op. 7 Holograph full score in pencil

Dated by the composer, 21-II-[1]943

Edition: Second version, original 1927

11/5 Poema heroico, op. 7 Bound holograph full score in ink, second version

Revised and reorchestrated

Dated and signed by the composer, 11-III-1943

39/3 Preludio, coral y fuga, op. 54-B See also: Piano subseries, op. 54-A for piano solo Holograph full score in pencil

Dated by the composer 5-IX-[1]945

11/6 Preludio, coral y fuga, op. 54-B Holograph full score (transparency)

Signed and dated by the composer, 1945

On p. 1: A Cecilia Benedit de Debenedetti

11/7 Preludio, coral y fuga, op. 54-B Holograph orchestral parts (transparency)

Signed by the composer

39/4 Primavera sin nieve, película documental [film score] Holograph full score in pencil 39/5 Seis canciones del Paraná op. 77-B, para canto y orquesta See also: Vocal music subseries op. 77-A, for voice and piano Holograph full score in pencil

Dated by the composer, 15-IV-[1]956

53/1 Seis fábulas (segunda serie), op. 59-B See also: Piano subseries op. 59-A, for piano solo Holograph full score in pencil 39/6 Seis fábulas (segunda serie), op. 59-B Ozalid manuscript full score with cover, marks in red, blue and black pencil

Signed and dated by the composer, 1946

On p. 1: Instrumentadas para orquesta en 1951

12/1 Seis fábulas (segunda serie), op. 59-B Ozalid manuscript orchestral parts with covers and with marks in red and black pencil, emendations in ink; 46 p.

Laid in: description

39/7 Serenada, op. 61 Holograph full score in pencil

Note: Serenata

Dated by the composer, 1-III-[1]947

13/1 Siete canciones de Amado Villar para soprano (tenor) y orquesta, op. 45 Holograph full score (transparency)

Signed by the composer

40/1 Primera suite, 1924, op. 5, revised 1966 Holograph full score in pencil

Note: Suite no. 1

Signed and dated by the composer, 8-IV-1966

40/2 Primera suite, 1924, op. 5, revised 1966 Holograph full score (transparency)

Note: Suite no. 1

Signed and dated by the composer, 1966

13/2 Primera suite, 1924, op. 5, revised 1966 Holograph orchestral parts (transparency)

Note: Suite no. 1

Signed and dated by the composer, 1924

13/3 Segunda suite, op. 6, 1926, revised 1962 Holograph full score (transparency)

Note: Suite no. 2

Signed and dated by the composer, 14-VII-1962

13/4 Segunda suite, op. 6, 1926, revised 1962 Holograph orchestral parts (transparency)

Note: Suite no. 2

Signed and dated by the composer, 1926

53/2 Suite para orquesta, op. 78, 3a. suite Holograph full score in pencil

Dated by the composer, 6-X-[1]953

14/1 Suite para orquesta, op. 78, 3a. suite Holograph full score (transparency)

Signed and dated by the composer, 6-X-[1]953

14/2 Suite para orquesta, op. 78, 3a. suite Holograph orchestral parts (transparency)

Signed and dated by the composer, 1953

40/3 Sulamita, poema sinfónico, op. 8, poema de amor según Alejandro Kuprin, 1927 Holograph full score in pencil

Revised 1960

Signed and dated by the composer, 23-VIII-[1]960

On p. 1: A la memoria de mi madre

14/3 Sulamita, poema sinfónico, op. 8, poema de amor según Alejandro Kuprin, 1927 Holograph full score (transparency)

Signed and dated by the composer, 1927

14/4 Sulamita, poema sinfónico, op. 8, poema de amor según Alejandro Kuprin, 1927 Holograph orchestral parts (transparency)

Signed and dated by the composer, 1927

14/5 Primera sinfonía, op. 20 (de cámara) Holograph full score in pencil with cover

Note: Symphony no.1

Signed and dated by the composer, 27-VII-1966

Edition: Revised 1966

15/1 Primera sinfonía, op. 20 (de cámara) Holograph full score (transparency)

Note: Symphony no.1

Signed and dated by the composer, 1932, 27-VII-1966

15/2 Primera sinfonía, op. 20 (de cámara) Holograph orchestral parts (transparency)

Note: Symphony no.1

Signed and dated by the composer, 1932

15/3 2a. sinfonía, op. 24 Holograph full score in pencil

Note: Symphony no. 2

Dated by the composer, 8-III-1933/15-III-1933

15/4 2a. sinfonía, op. 24 Holograph piano score in pencil with marks in black, red and blue pencil [first sketch]

Note: Symphony no. 2

Signed by the composer

40/4 2a. sinfonía, op. 24 Holograph full score (transparency)

Note: Symphony no. 2

Signed and dated by the composer, 1933

41/1 2a. sinfonía, op. 24 Manuscript orchestral parts in ink with covers and indications in pencil

Note: Symphony no. 2

40/5 Tercera sinfonía, op. 36 Holograph full score in pencil

Note: Symphony no. 3

Signed and dated by the composer, 1-IV-[1]940

40/6 Tercera sinfonía, op. 36 Holograph piano score in pencil [first draft]

Note: Symphony no. 3

Dated by the composer, 20-III-[1]940

42/1 Tercera sinfonía, op. 36 Manuscript orchestral parts in ink with covers

Note: Symphony no. 3

40/7 Cuarta sinfonía, op. 60 Holograph full score in pencil

Note: Symphony no. 4

Dated by the composer, 14-IX-1946

40/8 5a. sinfonía, op. 63, "Así habló Isaías" Holograph full score in pencil

Note: Symphony no. 5

Dated by the composer, B-Aires, 19-VI-1947

15/5 5a. sinfonía, op. 63, "Así habló Isaías" Holograph full score (transparency)

Note: Symphony no. 5

Signed and dated by the composer, 27-VI-1947

Biblical texts written on the score at the beginning of each movement

15/6 5a. sinfonía, op. 63, "Así habló Isaías" Holograph orchestral parts (transparency)

Note: Symphony no. 5

Signed and dated by the composer, 1947

16/1 5a. sinfonía, op. 63, "Así habló Isaías" Manuscript orchestral parts in ink with covers and with indications in pencil; 60 p.

Note: Symphony no. 5

Signed and dated by the composer, 1947

52/3 6a. sinfonía, op. 86 Holograph full score in pencil

Note: Symphony no. 6

Dated by the composer, 5-IV-[1]956

43/1 6a. sinfonía, op. 86 Holograph full score (transparency)

Note: Symphony no. 6

Signed and dated by the composer, 5-IV-1956

43/2 6a. sinfonía, op. 86 Bound ozalid full score

Note: Symphony no. 6

Signed and dated by the composer, 5-IV-1956

17/1 6a. sinfonía, op. 86 Holograph orchestral parts (transparency)

Note: Symphony no. 6

Signed and dated by the composer, 1956

43/3 7a. sinfonía, op. 92, "Epopeya de Mayo" Holograph full score in pencil

Note: Symphony no. 7

Dated by the composer, 4-III-1959

44/1 7a. sinfonía, op. 92, "Epopeya de Mayo" Holograph full score (transparency)

Note: Symphony no. 7

Signed and dated by the composer, 1958-1959

17/2 7a. sinfonía, op. 92, "Epopeya de Mayo" Copyist's manuscript orchestral parts (transparency)

Note: Symphony no. 7

44/2 8a. sinfonía, op. 105 Holograph full score in pencil

Note: Symphony no. 8

Dated by the composer, 20-VIII-1965

44/3 8a. sinfonía, op. 105 Holograph full score (transparency)

Note: Symphony no. 8

Dated by the composer, 20-VIII-1965

18/1 8a. sinfonía, op. 105 Holograph orchestral parts (transparency)

Note: Symphony no. 8

Signed and dated by the composer, 1965

18/2 Sinfonía no. 9, op. 123 Holograph full score in pencil

Note: Symphony no. 9

18/3 Sinfonía no. 9, op. 123 Holograph full score (transparency)

Note: Symphony no. 9

Dated by the composer, 4-III-1973

18/4 Sinfonía no. 9, op. 123 Holograph orchestral parts (transparency)

Note: Symphony no. 9

Signed and dated by the composer, 1973

54/1 10a. sinfonía, op. 131 Holograph full score in pencil

Note: Symphony no. 10

Dated by the composer 11-I-1977

For soprano, tenor, chorus and orchestra on "Israel" by Jorge Luis Borges

44/4 10a. sinfonía, op. 131 Holograph full score (transparency)

Note: Symphony no. 10

Signed and dated by the composer, 11-I-1977

On p. 1: Texto Jorge Luis Borges

18/5 Tres bocetos sinfónicos inspirados en el Talmud, op. 17 Holograph full score in pencil and ink with red and blue pencil marks

Dated by the composer, Buenos Aires, 11-XII-1930

45/1 Tres bocetos sinfónicos inspirados en el Talmud, op. 17 Holograph full score (transparency)

Signed and dated by the composer, 22-XII-1930

19/1 Tres piezas para orquesta de bronces y percusión, op. 116 Holograph full score (transparency)

Signed and dated by the composer, 20-II-1971

On p. 1 [original title]: Tre pezzi per ottoni e percussione, op. 116

19/2 Tres piezas para orquesta de bronces y percusión, op. 116 Holograph orchestral parts (transparency)

Signed and dated by the composer, 1971

53/3 Tres piezas para violín y orquesta, op. 65[B] See also: Chamber music subseries, op. 65[A] original for violin and piano Holograph full score in pencil 45/2 Tres piezas para violín y orquesta, op. 65[B] Holograph full score (transparency)

Signed and dated by the composer, 1948

19/3 Tres piezas para violín y orquesta, op. 65[B] Holograph orchestral parts (transparency)

Signed and dated by the composer, 1948

45/3 Variaciones y fuga sobre un tema de Mozart, op. 95 Holograph full score in pencil

Dated by the composer 17-IV-1961

45/4 Variaciones y fuga sobre un tema de Mozart, op. 95 Holograph full score (transparency)

Signed and dated by the composer, 1961

19/4 Variaciones y fuga sobre un tema de Mozart, op. 95 Photographic negatives of printed full score 19/5 Variaciones y fuga sobre un tema de Mozart, op. 95 Holograph orchestral parts (transparency)

Signed and dated by the composer, 1961

20-24 42 40-45 Chamber Music, 1927-1974 20/1 Canción de cuna Holograph cello score in ink

[Presumably a part of an unidentified work]

20/2 Canto elegíaco para violoncello y piano, op. 13, no. 1 Holograph piano/cello score in ink

Signed and dated by the composer, 5-X-1928

45/5 Cuarteto para cuerdas, no. 1, op. 9, versión nueva, revisada en 1947 Holograph full score in pencil

Dated by the composer, 17-X-1947

45/6 Cuarteto para cuerdas, no. 1, op. 9, versión nueva, revisada en 1947 Holograph full score in ink

Dated by the composer, 17-X-1947

20/3 Cuarteto para cuerdas, no. 1, op. 9, versión nueva, revisada en 1947 Holograph full score (transparency)

Signed and dated by the composer, 1927/1947

20/4 Cuarteto para cuerdas, no. 1, op. 9, versión nueva, revisada en 1947 Holograph parts (transparency)

Signed and dated by the composer, 1927/1947

45/7 Cuarteto para cuerdas, no. 2, op. 35 Holograph full score (transparency)

Signed and dated by the composer, 13-I-1937

On p. 1: A Elizabeth Sprague Coolidge, Premio Coolidge Estados Unidos 1937

20/5 Cuarteto para cuerdas, no. 2, op. 35 Holograph parts (transparency)

Signed and dated by the composer, 1937

45/8 Cuarteto para cuerdas, no. 3 op. 50 Holograph full score in pencil with ink emendations

Dated by the composer, 29-XII-[1]943

46/1 Cuarteto para cuerdas, no. 3 op. 50 Holograph full score in ink

Signed and dated by the composer, 1943 (2 copies)

Copy 1: dated 2-I-1944

20/6 Cuarteto para cuerdas, no. 3 op. 50 Holograph parts in ink with pencil marks

Signed and dated by the composer, 1943

46/2 Cuarteto para cuerdas, no. 4, op. 73 Holograph full score in pencil

Dated by the composer 8-III-[19]52

20/7 Cuarteto para cuerdas, no. 4, op. 73 Holograph full score (transparency)

Signed and dated by the composer, 20-III-[1]952

20/8 Cuarteto para cuerdas, no. 4, op. 73 Bound ozalid full score (2 copies)

Signed and dated by the composer, 1952

20/9 Cuarteto para cuerdas, no. 4, op. 73 Copyist's manuscript parts in ink (transparency) 21/1 Cuarteto para cuerdas, no. 4, op. 73 Printed parts 46/3 Cuarteto para saxofones, sop, alto, tenor, bar, op. 89 Holograph full score in pencil 21/2 Cuarteto para saxofones, sop, alto, tenor, bar, op. 89 Holograph full score (transparency)

Signed and dated by the composer, 19-IV-[1]957

46/4 Cuarteto para saxofones, transcripción para fl, ob, cl, fg o v1, v2, vla, vlc, op. 89 Holograph full score in pencil 21/3 Cuatro piezas para 4 solistas, op. 127 (flauta, oboe, clarinete en Sib y fagot) Holograph (transparency)

Signed and dated by the composer, 1974

46/5 Dos piezas hebreas para violín y piano, op. 12, no. 1 Melodía hebrea, no. 2 Danza hebrea Holograph piano/violin score in pencil [no. 2 Danza hebrea only]

Dated by the composer 4-VI-1969

21/4 Dos piezas hebreas para violín y piano, op. 12, no. 1 Melodía hebrea, no. 2 Danza hebrea Holograph piano/violin score in ink and violin part

[Melodía Hebrea op. 12, no. 1 only]

Dated by the composer 14/26-VI-[1]928

On p. 1: A Israel Isacson

21/5 Dos piezas hebreas para violín y piano, op. 12, no. 1 Melodía hebrea, no. 2 Danza hebrea Holograph piano-violin score and violin part (transparency)

[Danza hebrea op. 12, no. 2 only]

Signed and dated by the composer, 4-VI-1969

21/6 Dos piezas hebreas para violín y piano, op. 12, no. 1 Melodía hebrea, no. 2 Danza hebrea Bound ozalid piano-violin score and violin part

[Danza hebrea op. 12, no. 2 only]

Signed and dated by the composer, 4-VI-1969

21/7 Grave y presto, op. 3, para violin solo Holograph violin score (transparency)

Signed and dated by the composer, 1923-1951

On p. 1: Reelaborado en 1951

42/8 Grave y presto, op. 3, para violin solo Ozalid violin score (4 copies)

On copy 1, p. 1: A Alfredo Hess

On copy 3 and 4: A Alfredo Zubrisky

21/9 Hora [Jewish dance] Holograph violin and cello parts in ink

[Presumably parts of an unidentified work]

21/10 Introducción y movimiento perpetuo, op. 92 Holograph piano-violin score and violin part in ink

On p. 1: A Miguel; signed and dated by the composer, 19-III-1947

21/11 Introduzione ed Allegro para piano, flauto, oboe, fagotto, violino, viola, op. 118 Holograph full score (transparency)

Signed and dated by the composer, 27-VIII-1971

21/12 Introduzione ed Allegro para piano, flauto, oboe, fagotto, violino, viola, op. 118 Bound ozalid full score

Signed and dated by the composer, 27-VIII-1971

21/13 Introduzione ed Allegro para piano, flauto, oboe, fagotto, violino, viola, op. 118 Holograph parts (transparency)

Signed and dated by the composer, 1971

21/14 Melodía hebrea para cello y piano, op. 31, no. 2 See also: Dos piezas hebreas para violín y piano op. 12 Holograph piano-cello score in ink

Dated by the composer, 13-VII-1930

46/6 Quinteto para flauta, oboe, clarinete, fagot y corno, op. 108 Holograph score in pencil

Dated by the composer 17-IV-1969

22/1 Quinteto para flauta, oboe, clarinete, fagot y corno, op. 108 Holograph score (transparency)

Signed and dated by the composer, Filadelfia-Buenos Aires, 17-IV-1969

22/2 Quinteto para flauta, oboe, clarinete, fagot y corno, op. 108 Holograph parts (transparency)

Signed and dated by the composer, 1969

46/7 Quinteto para piano y cuarteto de cuerdas, op. 96 Holograph score in pencil

Dated by the composer 22-V-1961

46/8 Quinteto para piano y cuarteto de cuerdas, op. 96 Holograph score (transparency)

Signed and dated by the composer, 1961

22/3 Quinteto para piano y cuarteto de cuerdas, op. 96 Holograph string parts (transparency)

Signed and dated by the composer, 1961

22/4 Serenata, op. 61 [string orchestra] Copyist's manuscript full score in ink (transparency)

On p. 1: A Luis Gianneo

22/5 Serenata, op. 61 [string orchestra] Copyist's manuscript parts in ink (transparency) 46/9 Sonata a cuatro, op. 68, no. 3 (flauta, oboe, clarinete en Sib, fagot) Holograph score in pencil

Dated by the composer 8-XII-[1]950

22/6 Sonata a cuatro, op. 68, no. 3 (flauta, oboe, clarinete en Sib, fagot) Holograph score (transparency)

Signed and dated by the composer, 21-XII-[1]950

22/7 Sonata a cuatro, op. 68, no. 3 (flauta, oboe, clarinete en Sib, fagot) Holograph parts (transparency)

Signed by the composer

46/10 Sonata para arpa, op. 55 [first draft] Holograph harp score in pencil

Dated by the composer 23-X-[1]945

46/11 Sonata para arpa, op. 55 [first draft] Holograph harp score in ink with marks in pencil

On p. 1: A Carmen Benedit de Scanavino

22/8 Sonata para arpa, op. 55 [first draft] Holograph harp score (transparency)

Signed and dated by the composer, Noviembre 1945

On p. 1: A Carmen Benedit de Scanavino

46/12 Sonata para clarinete en Sib y piano, op. 32, no. 2 Holograph piano-clarinet score and clarinet part (transparency)

Signed and dated by the composer, 2-V-1937

On p. 1: A Filottete Martorella

23/1 Sonata para fagot y piano op. 32, no. 4 Holograph piano-bassoon score and bassoon part (transparency)

Signed and dated by the composer, 30-X-1970

46/13 Sonata para flauta, oboe y fagot, op. 68, no. 2 Holograph flute-oboe-bassoon score (transparency)

Signed and date by the composer, 1949

46/14 Sonata para flauta, oboe y fagot, op. 68, no. 2 Holograph parts (transparency)

Signed and date by the composer, 1949

46/15 Sonata para flauta y clarinete en Sib, op. 68, no. 1 Holograph flute-clarinet score (transparency)

Signed and dated by the composer, 1949

On p. 1: Al Dr. Carleton Sprague Smith

47/1 Sonata para flauta y clarinete en Sib, op. 68, no. 1 Ozalid flute-clarinet score

Signed and dated by the composer, 1949 (2 copies)

47/2 Sonata para flauta y piano, op. 32, no. 1 Holograph piano-flute score in ink and flute part with covers

Dated by the composer, 1935

On p. 1: A Angel Martucci

23/2 Sonata para flauta y piano, op. 32, no. 1 Holograph piano-flute score and flute part (transparency)

Signed and dated by the composer, 1935

On p. 1: A Angel Martucci

23/3 Sonata para flauta y piano, op. 32, no. 1 Printer's proof copy of piano-flute score and flute part (master transparency)

On p. 1: title, composer name and Editorial Argentina de Música, Buenos Aires

Laid in: composer notes with corrections for the printing shop

47/3 Sonata para oboe y piano, op. 32, no. 3 Holograph piano-oboe score in ink and oboe part

Signed and dated by the composer, 1940

On p. 1: A Pedro Di Gregorio

23/4 Sonata para oboe y piano, op. 32, no. 3 Holograph piano-oboe score and oboe part (transparency)

Signed and dated by the composer, 1940

On p. 1: A Lazare Saminsky

23/5 Sonata para oboe y piano, op. 32, no. 3 Printer's proof copy of piano-oboe score and oboe part (master transparency)

On p. 1: title, composer name and Editorial Argentina de Música, Buenos Aires

On p. 3: A Pedro Di Gregorio

47/4 Sonata para viola y piano, op. 80 Holograph piano-viola score in pencil

Dated by the composer 16-XII-[1]953

23/6 Sonata para viola y piano, op. 80 Holograph piano-viola score and viola part (transparency)

Signed and dated by the composer, 1953

On p. 1: A Andrés Vancoillie

47/5 Sonata para violín y piano, op. 15, no. 1 Holograph piano-violin score in pencil 23/7 Sonata para violín y piano, op. 15, no. 1 Holograph piano-violin score and violin part (transparency)

Signed and dated by the composer, 1929

On p. 1: Reelaborada en 1960

23/8 Sonata para violín y piano, op. 56, no. 2 Holograph piano-violin score and violin part (transparency)

Signed and dated by the composer, 1945, 9-I-[1]946

23/9 Sonata para violín y piano, op. 93, no. 3 Holograph piano-violin score and violin part (transparency)

Signed and dated by the composer, 1959

47/6 Sonata para violoncello y piano, op. 48 Holograph piano-cello score in pencil

Dated by the composer 12/18-VII-[1]943

23/10 Sonata para violoncello y piano, op. 48 Holograph piano-cello score and cello part (transparency)

Signed and dated by the composer, 1943

23/11 Sonata para violoncello y piano, op. 48 Ozalid cello part

Signed and dated by the composer, 1943

On p. 1: A Washington Castro [in ink]

24/1 Sonatina para piano, trompeta en Sib y saxofón contralto en Mib, op. 21 Holograph piano-trumpet-saxophone score, and trumpet and saxophone parts in ink

Signed and dated by the composer, Buenos Aires 1-IV-1932

24/2 Sonatina para piano, trompeta en Sib y saxofón contralto en Mib, op. 21 Copyist's manuscript piano-trumpet-saxophone score in ink

On p. 21: Copiado por Simón Tenovsky, 20/6/[1]931, B. Aires

24/3 Sonatina para piano, trompeta en Sib y saxofón contralto en Mib, op. 21 Photocopy of printed score and parts with corrections in red pencil

On p. 1: To my friend Isaac Nuguer

47/7 Suite en estilo antiguo, op. 16 Holograph full score in pencil and ink [first draft] 47/8 Suite en estilo antiguo, op. 16 Holograph full score in ink with covers

Signed and dated by the composer, 18-I-1930

47/9 Suite en estilo antiguo, op. 16 Holograph parts in ink 47/10 Suite en estilo antiguo, op. 16 Holograph piano-version score in ink with covers, op. 16-a

Signed by the composer

On p. 1: Arreglo para piano.

24/4 Suite en estilo antiguo, op. 16 Holograph full score (transparency)

Signed and dated by the composer, 1930

24/5 Suite en estilo antiguo, op. 16 Holograph parts (transparency)

Signed and dated by the composer, 1930

47/11 Tres piezas para viola y piano, op. 76 Holograph piano-viola score in ink

Dated by the composer 12-VIII-[1]953

24/6 Tres piezas para viola y piano, op. 76 Holograph piano-viola score in ink

Dated by the composer 19-VIII-[1]953

On p. 2: En memoria de Carlos Evaristo Goreloff

24/7 Tres piezas para viola y piano, op. 76 Holograph piano-viola score and viola part (transparency)

On p. 1: "In memoriam" de Carlos Evaristo Goreloff

48/1 Tres piezas para violin y piano, op. 65[A] See also: Chamber music subseries, op. 65[B], for violin and orchestra Holograph piano-violin score and violin part in ink with marks in red and blue pencil

Laid in: notes about copyright and proof of the printed score

Signed and dated by the composer, 9-II-1948

48/2 Trío, op. 30 para piano, violín y cello Printer's proof copy piano-violin-cello score and parts (master transparency) 24/8 Trío, op. 30 para piano, violín y cello Ozalid violin and cello parts

Signed and dated by the composer, 1935

On p. 1: A mi esposa Ana

24-26 48 Vocal Music, 1934-1977 24/9 Cantos de amor, op. 28 Holograph piano-vocal score (transparency)

Signed and dated by the composer, 19-VIII-1934

On p. 1: [Words] de Jehuda Ha-Levy, traducción de Rebeca Mactas Alpersohn

24/10 Cinco sonetos, op. 124 para soprano o tenor y piano Holograph piano-vocal score (transparency)

Signed and dated by the composer, 16-VIII-1973

On p. 1: Poesía de Cordoba Iturburu

24/11 Cinco sonetos, op. 124 para soprano o tenor y piano Ozalid piano-vocal score with covers

Signed and dated by the composer, 16-VIII-1973

24/12 Cinco sonetos de amor, op. 102, para voz y piano de Manuel Felipe Rugeles Piano-vocal score (transparency)

Signed and dated by the composer, 31-V-1964

24/13 Cinco poemas para voz y piano, op. 100 Piano-vocal score (transparency)

Signed and dated by the composer, 11-XI-1963

24/14 Cinco poemas para voz y piano, op. 100 Ozalid piano-vocal score with covers

Signed and dated by the composer, 11-XI-1963

Pasted on the back of the cover: newspaper's scraps with four of the poems

48/7b Cuatro baladas del Paraná, op. 79, texto de Rafael Alberti See also: Vocal music subseries, Seis canciones del Paraná op. 77 Holograph piano-vocal score in pencil [first draft]

Dated by the composer 17-VIII/13-XI-[1]953

25/1 Cuatro baladas del Paraná, op. 79, texto de Rafael Alberti Holograph piano-vocal score (transparency)

Signed and dated by the composer, 17-XI-[1]953

25/2 Cuatro coros a cappella, op. 125, poesía de C. Cordoba Iturburu Holograph vocal score (transparency)

Signed and dated by the composer, 2-IX-1973

25/3 Cuatro poemas, op. 132, poesías de Arminda Ralesky (1977) Photocopy of the printed score with corrections in ink

Laid in: typed Spanish and Yiddish texts

25/4 Cuatro sonetos de amor, op. 104, para coro mixto a cappella Holograph vocal score (transparency)

Signed and dated by the composer, 19-XII-1964

On p. 1: poesías de Manuel Felipe Rugeles

25/5 Dos canciones, op. 27, para soprano o tenor y piano Holograph piano-vocal score (transparency)

Signed and dated by the composer, 17-VII-1969

On p. 1: Poesías de Gabriela Mistral: Meciendo, ¡Duérmete apegado a mi!

25/6 Dos canciones, op. 70, no. 1 and no. 2, para una voz y piano, poesías de W. Longfellow Holograph piano-vocal score in ink

Dated by the composer, 18/26-XI-[1]949

Pasted to the score: newspaper's scraps with both poems

25/7 Dos coros a cappella, op. 83, no. 2 Bruma de oro, poesía de Conrado Nalé Roxlo Holograph vocal score in ink, signed and dated by the composer, 12-VII-[1]955

On p. 1: A Pedro Valenti Costa

25/8 Dos coros a cappella, op. 83, no. 2 Bruma de oro, poesía de Conrado Nalé Roxlo Holograph vocal score (transparency)

Signed and dated by the composer, 12-VII-1955

25/9 El murciélago para canto y piano, letra de Ferrari-Amores Holograph piano-vocal score in ink

Signed by the composer

48/3 Ocho poemas, op. 33, canto y piano, poesías de César Tiempo Holograph piano-vocal score in ink, bilingual text Spanish-Italian

Signed and dated by the composer, 1935

On p. 1: version italiana (tradotta all'italiano da) de H. Siccardi

25/10 Ocho poemas, op. 33, canto y piano, poesías de César Tiempo Holograph piano-vocal score (transparency) 25/11 Ocho poemas, op. 33, canto y piano, poesías de César Tiempo Holograph piano-vocal score in ink with covers [only poems 3, 4, 6, 7]

Signed and dated by the composer, 14-I-[1]936

25/12 Ocho poemas, op. 33, canto y piano, poesías de César Tiempo Holograph full score (transparency)

Chamber orchestra-vocal arr.

Spanish version

48/4 "Pulvis eris, et pulvis reverteris", op. 52, no. 2 Holograph piano/organ-vocal score in pencil, dated by the composer, 11-X-[1]944

On p. 1: Para tenor solo y coro femenino, órgano o piano

48/5 Rapsodia, op. 88, para coro mixto y cuarteto de saxofones Holograph full score in pencil

Dated by the composer, 30-X-[1]956

25/13 Rapsodia, op. 88, para coro mixto y cuarteto de saxofones Ozalid full score with covers

Signed and dated by the composer, 30-X-1956

On p. 1: Poesías de Rafael Alberti

48/6 Salmo 119, op. 51, no. 1 [op.52a], para tenor y coro femenino, órgano o piano Holograph full score in pencil

Dated by the composer, 2-IX-[1]944

48/7a Seis canciones del Paraná, op. 77-[A], texto de Rafael Alberti See also: Vocal music subseries, Cuatro baladas del Paraná op. 79 Holograph piano-vocal score in pencil [first draft]

Dated by the composer, 16-VIII-[1]953

25/14 Seis canciones del Paraná, op. 77-[A], texto de Rafael Alberti Holograph piano-vocal score (transparency)

Signed and dated by the composer, 12-1-[1]954

25/15 A toite rois (La rosa muerta), op. 34, no. 2, coro mixto y piano, poesía de Yoesch Holograph piano-vocal score (transparency)

Signed and dated by the composer, 1936

25/16 Tres canciones, op. 110, para soprano o tenor y piano Holograph piano-vocal score (transparency)

Signed and dated by the composer, 20-VII-1969

25/17 Tres canciones, op. 110, para soprano o tenor y piano Ozalid piano-vocal score with covers

Signed and dated by the composer, 30-X-1956

On p. 1: Pasted newspaper's scraps with the three poems

25/18 Tres canciones, op. 117, para soprano o tenor y piano Holograph piano-vocal score (transparency) with printed poems

Signed and dated by the composer, 6-III-1971

25/19 Tres canciones para soprano y piano, op. 126 Holograph piano-vocal score (transparency)

Signed and dated by the composer, 24-IX-1973

Laid in: poems and copyright documentation

48/8 Tres coros a cappella, op. 14, 1928-1954 Holograph vocal score in pencil

Dated by the composer, 6-III-[1]954

Revised in 1954

25/20 Tres coros a cappella, op. 14, 1928-1954 Holograph vocal score in ink

Signed and dated by the composer, 10-III-[1]954

Only op. 14 no. 1 "Todo lo que por ti vi..."

On p. 1: A Fernando Sabsay, poesías de Rafael Alberti

25/21 Tres coros a cappella, op. 14, 1928-1954 Holograph vocal score (master transparency) 25/22 Tres coros a cappella, op. 14, 1928-1954 New York: Southern Music Publishing Co., 1974. Printed vocal score 26/1 Tres coros a cappella, op. 114, poesías de Alfonsina Storni Holograph vocal score (transparency)

Signed and dated by the composer, 21-XI-1970

26/2 Tres coros a cappella, op. 120 Holograph vocal score (transparency)

Signed and dated by the composer, 26-XII-1971

48/9 Tres décimas, op. 74, para canto y piano, poesías de Manuel F. Rugeles Holograph piano-vocal score in pencil

Dated by the composer, 2-V-[1]952

26/3 Tres décimas, op. 74, para canto y piano, poesías de Manuel F. Rugeles Holograph piano-vocal score (transparency)

Signed and dated by the composer, 1952

26/4 Tres décimas, op. 74, para canto y piano, poesías de Manuel F. Rugeles Ozalid piano-vocal score

Signed and dated by the composer, 1952

26/5 Tres poemas, op. 109, para soprano o tenor y piano Holograph piano-vocal score (transparency)

Signed and dated by the composer, 5-VII-1969

26/6 Tres poemas, op. 109, para soprano o tenor y piano Ozalid piano-vocal score

Signed and dated by the composer, 5-VII-1969

On p. 1: Pasted newspaper's scraps with the three poems

48/10 Tres sonetos de Leónidas Barletta, op. 57, para una voz grave Holograph piano-vocal score (transparency)

Signed and dated by the composer, 1946

On p. 1: A Clara G. de Goreloff

26/7 Tres sonetos, op. 58, para canto y piano, poesías de Francisco Luis Bernardez Holograph piano-vocal score (transparency)

Signed and dated by the composer, 1966

Laid on: handwritten copies of the three sonnets

26/8 [Untitled song] See also: Piano music subseries, Suite para piano Manuscript piano-vocal score in ink 26-28 48 Piano Music, 1932-1975 26/9 Cinco piezas infantiles, op. 39 Holograph piano score in ink

Signed and dated by the composer, 27-V/8-VI-[1]939

On p. 1: A Myra [no. 1 and 2 only]

48/11 Cinco preludios para piano, op. 4, reelaborados en 1951 Holograph piano score (transparency)

Signed and dated by the composer, 1924-1951

On p. 1 of each: A Adolfo Mindlin, A Martha Piñeiro, A Werner Wagner, A la señora de Rugeles, A Marcelo Koc

26/10 Cinco retratos, op. 113 Holograph piano score (transparency)

Signed and dated by the composer, 17-V-1970

26/14 Cuatro invenciones a 2 voces Holograph piano score (transparency)

Dated by the composer, 8-III-[1]949

26/11 Cuatro piezas a 2 voces, op. 29, para piano Holograph piano score in pencil

Dated by the composer, 17-X-[1]934

Holograph piano score (transparency)

26/12 Cuatro piezas a 2 voces, op. 29, para piano Signed and dated by the composer, 17-X-1934 26/13 Cuatro preludios para piano, op. 119 Holograph piano score (transparency)

Signed and dated by the composer, 5-XII-1971

26/15 Poema, op. 106, para 2 pianos Holograph two-piano score (transparency)

Signed and dated by the composer, 1966

On p. 1: A Xiomara Audino y Elda Carella

26/16 Polca Holograph piano score in ink

Signed and dated by the composer, 2-III-[1]948

48/12 Preludio, coral y fuga, op. 54-A, sobre el tema "Do-Re-Mi" See also: Orchestral works subseries, op. 54-B, for orchestra Holograph piano score in pencil [first draft]

Signed and dated by the composer, 19-VII-[1]945

48/13 Preludio, coral y fuga, op. 54-A, sobre el tema "Do-Re-Mi" Holograph piano score in ink

Signed and dated by the composer, 21-VII-[1]945

On p. 1: A Cecilia Benedit de Debenedetti

26/17 Preludio, coral y fuga, op. 54-A, sobre el tema "Do-Re-Mi" Holograph piano score (transparency)

Signed and dated by the composer, 21-VII-1945

26/18 Preludio, siciliana y fuga, op. 111, para piano a 4 manos Holograph piano for 4 hands score (transparency)

Signed and dated by the composer, 27-VII-1969

26/19 Preludio, siciliana y fuga, op. 111, para piano a 4 manos Ozalid piano for 4 hands score with covers (2 copies)

Signed and dated by the composer, 27-VII-1969

26/20 Preludio y fuga, op. 31 Holograph piano score in ink

Signed and dated by the composer, 12-IX-[1]935

27/1 Seis danzas americanas op. 66 See also: Piano music subseries, Tangos y milongas op. 66 Holograph piano score in ink

Signed and dated by the composer, 3-IV-[1]948

Note: "Blues" only

27/2 Seis fábulas, op. 38, piezas infantiles, 1a. serie [2 to 6 only] Holograph piano score in ink with poems pasted on p. 1

Signed and dated by the composer, 16-XI-[1]940

On p. 1: A Myra

27/3 Seis fábulas, op. 59, piezas infantiles, 2a. serie Holograph piano score in ink with marks in red and black pencil

Signed and dated by the composer, 23-III-[1]946

27/4 Seis tangos y milongas para piano, op. 66 Holograph piano score in ink

Signed and dated by the composer, 2-IX-[1]959

[Missing Tango no. 1]

27/5 Seis tangos y milongas para piano, op. 66 Holograph piano score (transparency)

Signed and dated by the composer, 2-IX-[1]959

Complete set

48/14 2a. sonata para piano, op. 49 Holograph piano score in pencil

Note: Sonata no. 2

Dated by the composer, 30-IX-[1]943

48/15 2a. sonata para piano, op. 49 Copyist's manuscript piano score in ink

Note: Sonata no. 2

On p. 1: A Lily Saslavsky Litvin

48/16 Tercera sonata para piano, op. 71 Holograph piano score in ink with marks in red pencil

Note: Sonata no. 3

Signed and dated by the composer, 18-VII-[1]950

On p. 1: A Haydée Loustaunau

48/17 Cuarta sonata, op. 72, para piano Holograph piano score (transparency)

Note: Sonata no. 4

Signed and dated by the composer, 17-X-[1]950

On p. 1: A Tom Bromley

27/6 Cuarta sonata, op. 72, para piano Ozalid piano score with marks in red and black pencil

Note: Sonata no. 4

27/7 Sonata op. 87, no. 5, para piano Holograph piano score (transparency)

Note: Sonata no. 5

Signed and dated by the composer, 16-IX-1956

27/8 Sonata no. 6, op. 97, para piano Holograph piano score (transparency)

Signed and dated by the composer, 1961

27/9 Sonata no. 7, op. 101, para piano Holograph piano score (transparency)

Signed and dated by the composer, 22-I-1964

27/10 Sonata no. 8, op. 115, para piano Holograph piano score (transparency)

Signed and dated by the composer, 29-I-1971

27/11 Sonata no. 9, op. 122, para piano Holograph piano score (transparency)

Signed and dated by the composer, 24-IX-1972

27/12 Sonata no. 9, op. 122, para piano Buenos Aires: Editorial Argentina de Compositores, 1972. Bound ozalid printed piano score

(EAC, no. 124, 1972)

28/1 Suite para piano, and untitled vocal work, beginning with the words, "gerdink main Kind..." Holograph piano score and piano-vocal sketch in ink; p. 7-13 28/2 Tres danzas en estilo popular argentino, op. 43 Holograph piano score in ink with marks in red, blue and black pencil

Signed and dated by the composer, 19-VI-[1]941

On p. 1: A Valentín Zubrisky

48/18 Tres danzas hebraicas, op. 64, for two pianos Holograph two-piano score (transparency)

Signed and dated by the composer, 1948

28/3 Tres estampas, op. 37 Holograph piano score in ink

Signed and dated by the composer, 24-II-[1]938

On p. 1: A Francisco Curt Lange

28/4 Tres estampas, op. 42, para piano (2a. serie) Holograph piano score in ink

Signed and dated by the composer, 2-VI-[1]941

28/5 Tres estampas, op. 42, para piano (2a. serie) Holograph piano score (transparency)

Signed and dated by the composer, 2-VI-[1]941

28/6 Tres piezas para piano, op. 19 Holograph piano score in ink

Signed and dated by the composer, 9-I-1932

first version

Only no. III Danza

28/7 Tres piezas para piano, op. 19, segunda versión Holograph piano score in ink

Signed and dated by the composer, 1932/3-XII-[1]940

28/8 Tres piezas para piano, op. 129 Holograph piano score (transparency)

Signed and dated by the composer, 23-I-1975

28/9 Tres preludios para piano, op. 23 Holograph piano score in ink

Signed and dated by the composer, 30-XII-1932

On p. 1: A Francisco Amicarelli

28/10 Toccata, op. 99, para piano Holograph piano score (transparency)

Signed and dated by the composer, 20-IV-1963

28/11 Variaciones sobre un tema popular judío, op. 22, para piano Holograph piano score in ink

Signed and dated by the composer, 7-IX-[1]932

On p. 1: A Orestes Castronuovo

28/12 Variaciones sobre un tema popular judío, op. 22, para piano Holograph piano score (transparency)

Signed and dated by the composer, 1932

28/13 [Untitled, unfinished piano piece] Holograph piano score in ink 55/1-5 BIOGRAPHICAL MATERIALS, 1864-1978

Includes original personal and family documents in Spanish and Russian, original documents from the Odessa and Saint Petersburg conservatories, and miscellaneous documents from Argentina.

Arranged alphabetically by author or subject.

55/1 Ficher, Jacobo 55/2 Ficher family documents 55/3 Odessa Conservatory 55/4 Saint Petersburg Conservatory 55/5 Miscellaneous (Argentinean and Russian documents) 55-62 CORRESPONDENCE, 1923-1978

The Correspondence series is represented by letters, telegrams, and postcards (languages: Spanish, Russian, French, English, Italian and Portuguese) from individuals and corporate bodies.

The Correspondence series is arranged into three subseries: General, Family and Pupils. Arranged alphabetically by name under each subseries.

55/6-15 Family, 1923-1978 55/6 Abrashkin, Alejandro, n.d. 55/7 Aronberg, Raia, 1957-1974 55/8 Brandes, Mario, 1972-1976 55/9-12 Ficher, Miguel, 1950-1978

Folders:

1950-64 (BOX: 55/9) 1965-67 (BOX: 55/10) 1968-71 (BOX: 55/11) 1972-78 (BOX: 55/12) 55/13 Lopszyc, Ber, 1970-1990 55/14 [Unidentified family from Russia] 55/15 Zipman, Boris (Bernardo), 1929-1973 56-61 General, 1923-1978 56/1 Academia Nacional de Bellas Artes, 1939-1977 See also: Suárez Urtubey, Pola ADEMA see: Asociación de Músicos de la Argentina AEC see: Asociación Estímulo Cultural 56/2 Agashchvatian, E., 1930 AGMA see: Asociación General de Músicos de la Argentina, 1961 56/3 Agrupación de Estudiantes de Música, 1961 56/4 Alberti, Rafael, 1968 See also: León, María Teresa 56/5 Alec Templeton, Inc. Axelrod Publications, Inc, 1943-1969 56/6 Alemán, Fedora, 1956-1957 56/7 Altschuler, David, 1961 See also: Ricordi Americana See also: Teatro alla Scala 56/8 Ambassade d'Israel, 1969 56/9 American Music Center, 1941 56/10 Amigos de la Universidad Hebrea de Jerusalem, 1950-1969 56/11 Antonio, P., 1957-1965 APO see: Asociación del Profesorado Orquestal 56/12 Arte y Cultura Popular, Montevideo, 1937-1938 56/13 Asociación Amigos de la Música, 1960-1969 56/14 Asociación Amigos de la Música Hebrea, 1952 56/15 Asociación Coral Lorenzo Perosi, 1975 56/16 Asociación de Conciertos de Cámara, 1858-1868 56/17 Asociación de Músicos de la Argentina (ADEMA), 1944-1945 56/18 Asociación del Profesorado Orquestal (APO), 1929-1948 56/19 Asociación Estímulo Cultural (AEC), 1975-1976 56/20 Asociación General de Músicos de la Argentina (AGMA), 1939 56/21 Asociación Mutual Israelita Argentina, 1961-1969 56/22 Asociación Wagneriana de Buenos Aires, 1956-1969 See also: Sájaloff, Pedro 56/23 "A" miscellaneous 56/24 Bacevicius, Vytautas, 1940 56/25 Balzanelli, Alberto, 1966-1976 56/26 Banda Sinfónica Municipal de la Ciudad de Buenos Aires, 1963-1974 56/27 Bar-Am, Benjamin, 1961-1969 56/28 Baratoff, P., n.d. 56/29 Barbacci, Rodolfo, 1939 56/30 Bar-Illan, David, n.d. 56/31 Barletta, Leónidas, 1942-1966 56/32 Bautista, Julián, 1960-1976 56/33 Bayerischer Rundfunk, 1951 BBC see: British Broadcasting Corporation 56/34 Behrend, Jeanne, 1945 Bellán, Paul see: Orrego-Salas, Juan 56/35 Bernstein, Leonard, 1963 Bianchi, Renzo see: Teatro alla Scala 56/36 Biblioteca Central y Archivo del Instituto Científico Judío, 1929-1940 56/37 Biblioteca Municipal de Morón, 1974 56/38 Biographical Encyclopedia of America, 1941 56/39 Birger, Raya, 1968-1972 56/40 Blinder, Eugenio, n.d. and Naomi Blinder 56/41 Blumental de Mizne, Felicja, 1945-1947 56/42 Bongiorno, Martha, 1976-1978 56/43 Boosey & Hawkes, 1945-1951 56/44 Borrelli, Antonio, 1963-1968 56/45 Boult, Sir Adrian, 1958-1973 See also: British Broadcasting Corporation 56/46 Braga, Ernani, 1943 56/47 Brandwein, Horst M., 1963 56/48 British Broadcasting Corporation, 1944-1973 See also: Boult, Sir Adrian 56/49 Bromley, Tom, 1947-1951 56/50 B. Schott's Söhne, Mainz, 1950-1959 56/51 Buenos Aires (Argentina), Embajadores, European ambassadors, 1965-1975 56/52 Buenos Aires Musical, 1964 56/53 "B" miscellaneous 57/1 Caamaño, Roberto, n.d. See also: Fondo Nacional de las Artes 57/2 Cabral-Lima, José Inácio, 1943-1958 57/3 Calderón, Pedro Ignacio, 1976 See also: Teatro Colón 57/4 Calusio, Ferruccio, 1952 57/5 Campos-Parsi, Héctor, 1957 57/6 Cané, Luis, 1943 57/7 Caramuta, Américo, 1964 57/8 Carl Fischer, Inc., 1939-1978 Carvalho, Eleazar De see: De Carvalho, Eleazar 57/9 Casa de las Américas, 1965-1974 57/10 Castro, José María, 1939-1960 57/11 Castro, Juan José, 1930-1965 57/12 Castro, Luis Arnoldo, 1945 57/13 Castro, Roberto, 1966-1978 57/14 Castro, Washington, 1938-1976 57/15 Central Music Library in Israel, 1969 57/16 Centro Interamericano de Educación Técnica (CIDET), 1960 57/17 Ceskoslovensky Rozhlas, Radio Praga, 1965-1966 57/18 Chaikevich, Ilia, 1923 57/19 The Chamber Musical Guild, 1944 57/20 Chávez, Carlos, 1936-1977 See also: Orquesta Sinfónica de México 57/21 Chicago Chamber Orchestra Association, 1966 57/22 Cimaglia-Espinosa, Lía, n.d. 57/23 Círculo Argentino de Autores, 1933 57/24 Círculo Brahmsiano, 1965 57/25 Círculo Cultural Ruso-Israelita, 1929 57/26 Círculo de Autores y Compositores de Música, 1933 57/27 Clarín, 1967

Note: newspaper

Cohn, Arthur see: The Edwin A. Fleisher Collection, Free Library of Philadelphia 57/28 Collegium Musicum de Buenos Aires, 1954-1969 57/29 Comisión Municipal de Cultura, Mar del Plata, 1959-1960 57/30 Comisión Nacional de Cultura, Buenos Aires, 1945-1946 57/31 Concours Internationaux Henrik Wieniawski, Poznan, 1971-1975 57/32 Concours Musical International Reine Elizabeth de Belgique, 1954 57/33 Concurso Internacional de Piano "Jorge Lalewicz", 1965 57/34 Concurso Internacional de Piano Magda Tagliaferro, 1966 57/35 Consejo Municipal del Distrito Federal, Caracas, 1957 57/36 Consejo Nacional de Cultura, Cuba, 1962 57/37 Consejo Nacional de Educación, Buenos Aires, 1942-1971 57/38 Conservatorio "Antonio María Valencia", Colombia, 1958 57/39 Conservatorio "Juan José Castro", 1969 57/40 Conservatorio Municipal de Música "Manuel de Falla", 1967-1970 57/41 Conservatorio Nacional de Música "Carlos López Buchardo", 1959-1974 57/42 Coolidge, Elizabeth Sprague, 1937-1941 57/43 Cooper, Emile, 1925

Access point(s): Kuper, Emil'

57/44 Copland, Aaron, 1942-1976 57/45 Coro Polifónico de Santa Fé, 1967 57/46 Costa, Pedro, 1961 57/47 Cowell, Henry, 1943-1958 See also: New Music Edition 57/48 Curchitser, Santiago, 1969-1978 57/49 "C" miscellaneous 57/50 Dannemann, Ulrich, 1971 57/51 Davidson, Charles, 1969 57/52 De Carvalho, Eleazar, 1965 57/53 Diccionario de Músicos Compositores Argentinos, 1937 57/54 Dirección Nacional de Bellas Artes, 1937 57/55 Dirección Servicio Oficial de Radiodifusión, 1959-1960 Drago, Mariano see: Banda Sinfónica Municipal de la Ciudad de Buenos Aires 57/56 Dranishnikov, Vladimir, 1927-1928 D'Urbano, Jorge see: Academia Nacional de Bellas Artes 57/57 "D" miscellaneous 57/58 Eastman School of Music, 1973 57/59 Ediciones Internacionales Fermata, 1942 57/60 Editorial Argentina de Música, 1951-1955 57/61 Editorial Codex, 1969 57/62 Editorial Israel, 1943 57/63 Edward B. Marks Music Corporation, 1947 57/64 The Edwin A. Fleisher Collection, Free Library of Philadelphia, 1941-1970 57/65 Eitler, Esteban, 1947-1955 57/66 Empreza Concerto Teatral, 1940 57/67 Enciclopedia Musicale Ricordi, 1956 57/68 Engel, Joel, 1925 57/69 Engel, Lehman, 1941 57/70 E. P. Dutton & Co. Inc., 1970 Epstein, Ernesto see: Collegium Musicum de Buenos Aires 57/71 Erize, Jeanette Arata de, 1962-1968 See also: Mozarteum Argentino 57/72 Escuela Superior de Bellas Artes, Universidad de La Plata, 1957-1967 57/73 Espinosa, Guillermo, 1947-1969 57/74 Estrada, Carlos, 1956 57/75 Etler, Alvin, 1941 57/76 "E" miscellaneous 58/1 Fasman, Boria Boris, 1929 58/2 Fidlon, Ilia, 1941-1955 58/3 Fine, Vivian, 1941-1943 The Fleisher Collection, Free Library of Philadelphia see: The Edwin A. Fleisher Collection 58/4 Fondo Nacional de las Artes, 1958-1975 See also: Caamaño, Roberto 58/5 Fontova, José María, n.d. Fontenla, Jorge see: Universidad Nacional de Cuyo 58/6 Franze, Juan Pedro, 1968 58/7 Freed, Isadore, 1940-1953 See also: Saminsky, Lazare 58/8 Freitas e Castro, Enio de, 1949 58/9 Friedler, Egon, 1975 Fuchs, Teodoro see: Orquesta Sinfónica de Córdoba 58/10 Fundación Cultural Coliseum, 1966 58/11 "F" miscellaneous 58/12 García, Blas, 1962-1965 See also: Provincia de Buenos Aires, Ministerio de Educación 58/13 García-Estrada, Juan A., 1957 García-Morillo, Roberto see: Conservatorio Nacional de Música "Carlos López Buchardo" 58/14 Garmendia, Emma, 1969 58/15 Garreffa, Domingo, 1961 58/16 Geissler, Segfried?, 1952 58/17 Gerberov, Michael, 1938 58/18 Gianneo, Luis, 1937-1968 58/19 Gilardi, Gilardo, 1962 58/20 Ginastera, Alberto, 1973-1975 58/21 Gómez-Carrillo, Manuel, 1940 58/22 Goreloff, Clara G. de, 1968 58/23 Gotthelf-Levita, Gerardo, 1941-1947 Graetzer, Guillermo see: Collegium Musicum de Buenos Aires 58/24 Gradenwitz, Peter, 1949 58/25 Graffman, Vladimir, 1949-1950 Gramatges, Harold see: Casa de las Américas 58/26 Grinstein, David, 1948 58/27 Grosman, Carlos, 1969 58/28 Grupo de Cámara de Buenos Aires, 1971-1974 58/29 G. Schirmer, Inc., 1937-1956 58/30 Guigui, Efrain, 1956 and Gerardo Levy 58/31 Guinsburg, Juana, 1970-1974 58/32 Guinsburg, Rodolfo, 1962 See also: Loustaunau, Haydée Guggenheim Memorial Foundation see: John Simon Guggenheim Memorial Foundation 58/33 Gutierrez, Bolívar, 1957-1958 See also: Servicio Oficial de Difusión Radioelétrica (SODRE) 58/34 Gutierrez, Hipólito Felipe, 1977 58/35 "G" miscellaneous 58/36 Habschied, José, 1953-1954 58/37 The Haifa Music Museum, 1969 58/38 Helm, Everett B., 1945 58/39 Heltai, Francisco, 1956 58/40 Hilsberg, Neya, 1955 58/41 Holzmann, Rudolph, 1940 58/42 Hurtado, Leopoldo, 1962-1976 58/43 "H" miscellaneous 58/44 Imprenta Litografía Musical Garrot, 1943-1944 58/45 Indiana University, 1962-1963 See also: Orrego-Salas, Juan 58/46 Iniesta, Iocasta Kusrow-Corma de, 1962 58/47 Initiative Committee for an American Center for Jewish Music, 1938 58/48 Institución José Angel Lamas, Caracas, 1954-1957 See also: Palacios, Inocente 58/49 Instituto Central de Relaciones Culturales Israel-Iberoamérica, 1969 58/50 Instituto Científico Israelita en la Argentina, 1930-1974 58/51 Instituto Científico Judío, 1939-1971 58/52 Instituto Cinematográfico del Estado, 1942 58/53 Instituto Cultural Argentino-Israelí, 1953 58/54 Instituto de Arte Moderno, 1950 58/55 Instituto de Intercambio Cultural Argentino-Israelí, 1969-1976 58/56 Instituto de Relaciones Culturales Argentina-U.R.S.S., 1959 58/57 Instituto Goethe, 1973 58/58 Instituto Interamericano de Musicología, 1941 See also: Lange, Francisco Curt 58/59 Instituto Judío Argentino de Cultura e Información, 1951-1969 58/60 Instituto Lucchelli Bonadeo, 1971 58/61 Instituto Nacional de Cultura, Caracas, 1970 58/62 Instituto Nacional de Radio y Televisión, Bogotá, 1965 58/63 The International Who's Who in Music, 1978 ISER see: Seri, José Eduardo 58/64 Israel Broadcasting Authority, Jerusalem, 1969-1973 58/65 Iturburu, Córdova, 1946 58/66 "I" miscellaneous 58/67 The Jacob Michael Collection of Jewish Music, 1948 58/68 Jellinek, Lore, 1940-1941 58/69 Jernek, Carel, 1968 58/70 The Jewish Agency for Palestine, Department of Education, 1950-1953 58/71 Jewish Music Council, 1948-1949 58/72 John Simon Guggenheim Memorial Foundation, 1959 58/73 Jonas, Manla, n.d. 58/74 Jospe, Lena, 1940 58/75 Juventudes Musicales de la Argentina, 1966 58/76 "J" miscellaneous 58/77 Kaplan, Sima, 1955-1963 58/78 Kay, Ernest, 1977 58/79 Kendall, Kenneth, 1941 58/80 Kibrick, Salvador, n.d. 58/81 Knepler, Guillermo, 1963-1965 58/82 Kletzki, Paul, 1956-1972 58/83 Koc, Marcelo, 1960-1966 58/84 Koellreuter, H. J., 1950-1969 58/85 Koffler, Józef, 1937 58/86 Korgulia, S., 1924-1925 Koussevitzky, Fabien see: Sevitzky, Fabien 58/87 Kortschak, Hugo, 1937-1938 Kuper, Emil' see: Cooper, Emile 58/88 Kuri-Aldana, Mario, 1965-1966 58/89 "K" miscellaneous 59/1 Lakond, Wladimir, 1969 See also: Southern Music Publishing Company Inc. 59/2 Lange, Francisco Curt See also: Instituto Interamericano de Musicología 59/3 Lawler, Vanett, 1945 See also: Pan American Union League of Composers in Israel see: Bar-Am, Benjamin 59/4 Leeds Music Corporation, 1951 59/5 Legación de Israel, 1949-1953 59/6 Legación de la República de Bulgaria, 1963 59/7 León, María Teresa, 1955 See also: Alberti, Rafael 59/8 Leonardi, Waldomiro Augusto, 1949 Levy, Gerardo see: Guigui, Efrain 59/9 Ley, Salvador, 1960 59/10 Liceo Municipal, Santa Fé, 1957 59/11 Lira Espejo, Eduardo, 1967 59/12 Litvin, Isaac, 1960-1977 59/13 López-Buchardo, Elena, 1969 59/14 López-Monte, Heriberto G., 1964 59/15 Lores, Pedro de, 1957 59/16 Loustaunau, Haydée, 1961-1976 See also: Guinsburg, Rodolfo 59/17 "L" miscellaneous 59/18 Magliani, Mario, 1970 59/19 Makarov, S., 1927 59/20 Malaral, Julio, 1967 59/21 Malko, Berthe, 1967 59/22 Malko, Nicolai, 1929-1956 59/23 Manfred, Ernest F., 1967 59/24 Mangen, Henri, n.d. 59/25 Mannuval, E., 1940 59/26 Martini, Juan Emilio, 1971 59/27 Martucci, Angel S., 1974 Masters of Our Day see: Freed, Isadore see: Saminsky, Lazare 59/28 Mattauch, Hilde, 1956-1961 59/29 Mattiello, Angel, 1965 59/30 Melos Ensemble de Buenos Aires, n.d. 59/31 Mindlin, Adolfo, 1944-1971 59/32 Ministerio de Cultura de U.R.S.S., 1962 59/33 Ministerio de Educación y Justicia, Dirección de Cultura, 1951-1972 59/34 Ministerio de Gobierno, 1964 59/35 Ministerio de Planeamiento, 1977 59/36 Ministerio de Relaciones Exteriores y Culto, 1953-1969 59/37 Ministro Plenipotenciario de Israel, 1949 59/38 Montero, Juan F., 1965 59/39 Montés, Tila y John (Duo Montés), 1944-1976 59/40 Morgulis, Gregorio, 1939 59/41 Mozarteum Argentino, 1961-1964 See also: Erize, Jeanette Arata de Muller, María V. de see: Arte y Cultura Popular 59/42 Municipalidad de Avellaneda, Comisión de Cultura, 1951 59/43 Municipalidad de la Ciudad de Buenos Aires, 1946-1971 59/44 Municipalidad de Morón, 1954 59/45 Mundo Israelita, 1944 59/46 Muchnik, Jacobo, 1983 59/47 Music Press, Inc., 1946-1948 59/48 Musikverlag Hans Wewerka, 1966 59/49 "M" miscellaneous 59/50 Narké, Víctor de, 1961 59/51 National Federation of Music Clubs, 1941-1949 59/52 New Music Edition, 1937-1942 See also: Cowell, Henry 59/53 New Orleans Philharmonic-Symphony Society, 1956 59/54 New York City Opera, 1969 See also: Rudel, Julius 59/55 New York Philharmonic, 1965 See also: Bernstein, Leonard The New York Public Library see: Smith, Carleton Sprague 59/56 Nicoloff, Peter, 1958-1960 59/57 Nogueira de Saint-Upery, Inés, 1944 59/58 Nudelman, Flora, 1963 59/59 "N" miscellaneous OAS, Music Division see: Espinosa, Guillermo OEA, Sección Música see: Espinosa, Guillermo 59/60 Office de Radiodiffusion-Télévison Israélienne, 1973 59/61 Olivesky, José, 1957-1975 59/62 Organización de Conciertos Gerard, 1969-1970 Organización de Estados Americanos (OEA), Seccción Música see: Espinosa, Guillermo 59/63 Organización Hebrea Macabi, 1951 Organization of American States (OAS), Music Division see: Espinosa, Guillermo 59/64 Orloff, Adrian, 1942 59/65 Ormandy, Eugene, 1951 59/66 Orquesta Sinfónica de Córdoba, 1942-1960 59/67 Orquesta Sinfónica de México, 1937 See also: Chávez, Carlos 59/68 Orquesta Sinfónica del Estado, 1951 59/69 Orquesta Sinfónica Venezuela, 1955-1965 59/70a Orrego-Salas, Juan, 1950-1969 See also: Indiana University 59/71 Ortenberg, Edgar, 1969 59/70b Palacios, Inocente, 1954-1974 See also: Institución José Angel Lamas, Caracas 59/73 Pan American Union, 1946 See also: Lawler, Vanett 59/74 Paridis, Andreas, n.d. 59/75 Pasquale, Maria C. de, 1949 59/76 Peer-Southern Organization, 1972-1978 59/77 Perceval, Julio, 1941 59/78 Pérez-Carreño, Camila, 1957 59/79 The Philadelphia Orchestra Association, 1951 Philadelphia Philharmonic Orchestra see: Ormandy, Eugene 59/80 Pinette, Jorge, 1952 59/81 Politikens Forlag, 1948-1961 59/82 Porat, Josef 59/83 Prague Quartet, 1966 Prague Symphony Orchestra see: Smetácek, Václav 59/84 La Prensa, 1946 59/85 Prix de Composition Musicale Prince Rainier III de Monaco, 1965 59/86 Promociones Musicales, 1966-1968 59/87 Provincia de Buenos Aires, Ministerio de Educación, 1965 See also: García, Blas 59/88 "P" miscellaneous 60/1 Quien es Quien en la Argentina, 1961-1973 60/2 Ralesky, Arminda, 1971-1974 and Moisés Ralesky 60/3 Ramírez, Ariel, 1972-1973 See also: Sociedad Argentina de Autores y Compositores 60/4 Ravina, Arturo L., 1966-1970 60/5 Reis, Mrs. Arthur M., n.d. 60/6 Rendón, Guillermo, 1963-1964 60/7 Renison, Herbert, 1963 Reno Philharmonic Symphony Orchestra see: Stone, Gregory 60/8 Ricordi Americana (G. Ricordi), 1941-1968 See also: Teatro alla Scala See also: Altschuler, David

Access point(s): G. Ricordi

60/9 Riemann Musiklexicon, 1956-1969 Ríos-Reyna, P. A. see: Orquesta Sinfónica Venezuela 60/10 Ritmo, 1962 60/11 Roisman, Joseph, 1957-1972 60/12 Rosenthal, Ernesto, 1963 60/13 Rozovskii, S., 1935-1937 60/14 Rubinstein, Arthur, 1951 60/15 Rudel, Julius, 1969 See also: New York City Opera 60/16 Rugeles, Ana Mercedes, 1955-1977 and Manuel F. Rugeles 60/17 "R" miscellaneous 60/18 Sabsay, Fernando Leonidas, 1953-1974 60/19 Sachs, Rodolfo, 1942 SADAIC see: Sociedad Argentina de Autores y Compositores 60/20 Sájaloff, Pedro, 1966 See also: Asociación Wagneriana de Buenos Aires 60/21 Sala, Jorge, 1967-1973 60/22 Saleski, Gdal, 1941 60/23 Salgado, Susana, 1973-1977 60/24 Saminsky, Lazare, 1938-1955 See also: Freed, Isadore 60/25 Santa-Cruz, Domingo, 1941-1946 60/26 Sarmiento, Jorge, n.d. 60/27 Savlavky, Lily, n.d. Schirmer, Inc. see: G. Schirmer, Inc. Schott's Söhne, Mainz see: B. Schott's Söhne, Mainz 60/28 Schurjin, Raúl, 1960 60/29 Schuster, Joseph, 1946 60/30 Sebastiani de Missair, Pía, n.d. Seder, Theodore A. see: The Edwin A. Fleisher Collection Seeger, Charles see: Pan American Union 60/31 Seri, José Eduardo, 1973-1974 60/32 Serrano Redonnet, Ana, 1963-1968 60/33 Servicio Internacional Radiofónico Argentino, 1953 60/34 Servicio Oficial de Difusión Radioelétrica (SODRE), 1952 See also: Gutierrez, Bolívar 60/35 Servicio Oficial de Radiodifusión, 1958-1969 60/36 Sevitzky, Fabien, 1953-1967

Access point(s): Koussevitzky, Fabien

60/37 Shashkin, S., 1962 60/38 Shawnee Press Inc., 1969-1977 60/39 Sherwood Music School, 1963 60/40 Shul'gin, 1939 60/41 Siccardi, Honorio, 1937-1960 Simon, Eric see: Gutierrez, Bolívar 60/42 Singer, Wolff, 1922 60/43 Singerman, Berta, 1956 60/44 Sirota, Leo, 1960 60/45 Slonimsky, Nicolas, 1937-1950 60/46 Smetácek, Václav, 1968-1972 60/47 Smith, Carleton Sprague, 1949-1951 60/48 Sociedad Argentina de Autores y Compositores (SADAIC), 1938-1977 See also: Ramírez, Ariel 60/49 Sociedad Argentina de Educación Musical, 1969-1970 60/50 Sociedad de Actores Israelitas en la Argentina y Uruguay, 1943 60/51 Sociedad Hebraica Argentina, 1939-1969 60/52 Sociedad Israelita Unión y Fraternidad, 1930 SODRE see: Servicio Oficial de Difusión Radioelétrica 60/53 Somogyi, Laszlo, 1961 61/1 Southern Music Publishing Company Inc., 1949-1974 See also: Lakond, Wladimir 61/2 Sormani, Egbert J., 1969 61/3 Spalding, Mary, 1955-1965 61/4 Spiller, Ljerko, 1939-1976 61/5 Spivak, Raúl, 1945-1958 61/6 Steinberger, Emil, 1969 61/7 Sternic, Lázaro, 1960 61/8 Stofblat, Nestor, n.d. 61/9 Stokowsky, Leopold, 1949-1951 61/10 Stone, David, 1967 61/11 Stone, Gregory, 1947-1975 Strang, Gerald see: New Music Edition 61/12 Suárez Urtubey, Pola, 1970 See also: Academia Nacional de Bellas Artes 61/13 Subsecretaría de Difusión, 1953 61/14 Szarán, Luis, 1974 61/15 Szterenfeld, Alejandro, n.d. Conciertos Gama 61/16 "S" miscellaneous 61/17 Teatro alla Scala, 1961 See also: Ricordi Americana 61/18 Teatro Argentino, 1966-1968 61/19 Teatro Colón, 1943-1969 See also: Calderón, Pedro Ignacio 61/20 Teatro Excelsior, 1929 61/21 Teatro IFT, 1960-1963 Temple University, College of Music see: Stone, David 61/22 Templeton Publishing Co., Inc., 1969 61/23 Terraza, Emilo, 1958-1965 61/24 Theodore Presser Company, 1966-1968 61/25 Thomas Y. Crowell Company, 1945 61/26 Tiempo, César, 1935-1958 61/27 Tisbierek, José, 1943 and María Kareska Tisbierek 61/28 Tortorella, Adalberto, 1966-1976 61/29 "T" miscellaneous Ugarte, Floro M., see: Teatro Colón 61/30 Unidentified 61/31 Unión de Compositores de la Argentina, 1966-1971 Union Panamericana see: Pan American Union 61/32 United Kingdom, British Council (Buenos Aires; Santiago), 1944-1945 61/33 The United States Group for Latin American Music, 1947-1948 61/34 United States of America, Embassy, 1969 61/35 United Temple Chorus, 1945 61/36 Universal Edition, 1950 61/37 Universidad Central de Venezuela, 1957 61/38 Universidad de Buenos Aires, 1958 Universidad de Chile see: Orrego-Salas, Juan see: Santa-Cruz, Domingo Universidad de Nariño see: Gotthelf-Levita, Gerardo 61/39 Universidad de Puerto Rico, 1955 61/40 Universidad Hebrea de Jerusalem, 1937 61/41 Universidad Nacional de Cuyo, Escuela Superior de Música, 1972-1973 61/42 Universidad Nacional de La Plata, 1959 61/43 Universidad Nacional de Tucumán, 1967 61/44 The University of Arizona, 1963 The University of Miami Symphony Orchestra see: Sevitzky, Fabien 61/45 The University of Texas at Austin, 1976 61/46 Urteaga, Irma, n.d. Valenti-Ferro, Enzo see: Buenos Aires Musical Valcarenghi, Guido see: Ricordi Americana 61/47 Venier, Bruno, 1967-1975 61/48 Verson, Cara, 1940 61/49 Vicuña, Magdalena, 1969 61/50 Viñao, Alejandro, 1975-1976 61/51 Victoria, Marcos, 1964 61/52 Voz Hebrea, 1933 61/53 Vronsky, 1951 and Babin

Note: piano duet

61/54 "V" miscellaneous 61/55 Wainer, Jacobo, 1953-1969 61/56 Waldo, Elisabeth, 1948 61/57 Wagner, Werner, 1950 61/58 Warshaver, Josefina, 1953 61/59 Wewerka, Hans, 1966 61/60 Who's Who in the Western Hemisphere, 1943 61/61 Who's Who in World Jewry, 1962 61/62 Wieczorek, Marian, 1976 61/63 Williams, Ronald R., 1972 61/64 Wislocki, Stanislaw, n.d. and Isabelle Wislocki 61/65 The World Who's Who of Musicians, n.d. 61/66 "W" miscellaneous 61/67 Yost, Ricardo, 1969 61/68 "Y" miscellaneous 61/69 Zabaleta, Nicanor, 1956 61/70 Zajac, Enrique, 1944-1955 61/71 Zubrinsky, Rodolfo, 1958-1968 61/72 Zubrinsky, Valentín, 1961-1965 61/73 Zydowskie Towarzystwo Muzyczne, 1936 61/74 "Z" miscellaneous 62/1-32 Pupils, 1923-1978 62/1 Bigotti, Magdalena, 1976 62/2 Bluwol, Osvaldo M., 1976 62/3 Borghi, Nélida, C., 1972-1977 62/4 Cambareri, Alberto, 1965 62/5 Campana, José Luis, 1973-1977 62/6 Carmona, Ana María, 1964 62/7 Castro, Marta R[edoano] de, 1961 62/8 Cerrutti, Ernesto, 1969-1971 62/9 Criscuolo, María Teresa, 1961-1972 62/10 Crüse, Hugo, n.d. 62/11 Curutchet de Val, Leonor María, 1966-1968 62/12 Di Giacomo, María J., 1969 62/13 Figueroa, Oscar A., 1972 62/14 Freccero, Susana Elisa, 1969 62/15 Giaimo, José Alberto, 1975 62/16 Gollhardt, Werner, 1963 62/17 Grünberg, Sonia, 1976 62/18 Kauderer, Emilio, 1974 62/19 Kohau, Pablo, 1974 62/20 Litwin, Mario, 1973 62/21 López, Carlos, 1957 62/22 Piñeiro Sorondo, Martha, 1955-1957 62/23 Rapoport, Oswaldo, 1943 62/24 Reynaud, Héctor Sergio, 1955-1967 62/25 Romano, Jacobo, 1954-1957 See also: Zulueto, Jorge 62/26 Spitalnik, Ismael, 1945 62/27 Teseo, René, 1975 62/28 [Unidentified] 62/29 Valverde, Myriam, 1965-1967 62/30 Winnik, Jorge, 1961 62/31 Zulueto, Jorge, 1954 See also: Romano, Jacobo 62/32 Miscellaneous 62/33-40 WRITINGS, 1940-1987

Includes articles, awards, speeches, catalog, radio and television scripts by Jacobo Ficher and lectures given by others about Ficher.

Arranged alphabetically by subject.

62/33 Argentinean music and musicians 62/34 Awards and acceptance speeches 62/35 Catalog of works 62/36 Jacobo Ficher on himself 62/37 Lecture on Heitor Villa Lobos 62/38 Radio and television broadcasts 62/39 Tel-Aviv trip, 1969 62/40 Writings by others about Jacobo Ficher 54/2 63/1-9 MapCas C/Dwr 6 PROGRAMS, 1919-1997

Includes printed programs and photocopies of programs.

Arranged chronologically.

54/2 1919 63/1 1939-61 63/2 1962-64 63/3 1965 63/4 1966 63/5 1967 MapCas C/Dwr 6 1968 63/6 1968-70 63/7 1971-73 63/8 1974-Feb. 1978 63/9 1979-97 64-68 SCRAPBOOKS, 1914-1990

Includes concert programs, letters, clippings and critical reviews.

Arranged chronologically.

64 No. 1, 1914-34 65 No. 2, 1934-40 66 No. 3, 1940-49 67 No. 4, 1950-66 68 No. 5, 1966-90