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Music, 1927-1977 (continued) | |||||||||||||
Vocal, 1934-1977 (continued) | |||||||||||||
Tres canciones para soprano y piano, op. 126 (continued) | |||||||||||||
Holograph piano-vocal score (transparency) | |||||||||||||
Signed and dated by the composer, 24-IX-1973 | |||||||||||||
Laid in: poems and copyright documentation | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 25/21 | Tres coros a cappella, op. 14, 1928-1954 | ||||||||||||
Holograph vocal score (master transparency) | |||||||||||||
BOX-FOLDER 25/22 | Tres coros a cappella, op. 14, 1928-1954 New York: Southern Music Publishing Co., 1974 . | ||||||||||||
Printed vocal score | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 26/2 | Tres coros a cappella, op. 120 | ||||||||||||
Holograph vocal score (transparency) | |||||||||||||
Signed and dated by the composer, 26-XII-1971 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 26/8 |
Untitled song see also Piano subseries: Suite para piano, and untitled vocal work ... |
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Manuscript piano-vocal score in ink | |||||||||||||
Piano, 1932-1975 | |||||||||||||
BOX-FOLDER 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] | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 26/10 | Cinco retratos, op. 113 | ||||||||||||
Holograph piano score (transparency) | |||||||||||||
Signed and dated by the composer, 17-V-1970 | |||||||||||||
BOX-FOLDER 26/14 | Cuatro invenciones a 2 voces | ||||||||||||
Holograph piano score (transparency) | |||||||||||||
Dated by the composer, 8-III-[1]949 | |||||||||||||
BOX-FOLDER 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) | |||||||||||||
BOX-FOLDER 26/12 | Cuatro piezas a 2 voces, op. 29, para piano | ||||||||||||
Signed and dated by the composer, 17-X-1934 | |||||||||||||
BOX-FOLDER 26/13 | Cuatro preludios para piano, op. 119 | ||||||||||||
Holograph piano score (transparency) | |||||||||||||
Signed and dated by the composer, 5-XII-1971 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 26/16 | Polca | ||||||||||||
Holograph piano score in ink | |||||||||||||
Signed and dated by the composer, 2-III-[1]948 | |||||||||||||
BOX-FOLDER 48/12 |
Preludio, coral y fuga, op. 54-A, sobre el tema "Do-Re-Mi"
see also Orchestral subseries: Preludio, coral y fuga, op. 54-B |
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Holograph piano score in pencil [first draft] | |||||||||||||
Signed and dated by the composer, 19-VII-[1]945 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 26/20 | Preludio y fuga, op. 31 | ||||||||||||
Holograph piano score in ink | |||||||||||||
Signed and dated by the composer, 12-IX-[1]935 | |||||||||||||
BOX-FOLDER 27/1 |
Seis danzas americanas op. 66
see also Seis tangos y milongas para piano, op. 66 |
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Holograph piano score in ink | |||||||||||||
Signed and dated by the composer, 3-IV-[1]948 | |||||||||||||
"Blues" only | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 27/3 |
Seis fábulas, op. 59, piezas infantiles, 2a. serie
see also Orchestral subseries: Seis fábulas (segunda serie), op. 59-B |
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Holograph piano score in ink with marks in red and black pencil | |||||||||||||
Signed and dated by the composer, 23-III-[1]946 | |||||||||||||
BOX-FOLDER 27/4 |
Seis tangos y milongas para piano, op. 66
see also Seis danzas americanas op. 66 |
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Holograph piano score in ink | |||||||||||||
Signed and dated by the composer, 2-IX-[1]959 | |||||||||||||
Missing Tango no. 1 | |||||||||||||
BOX-FOLDER 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 | |||||||||||||
BOX-FOLDER 48/14 | 2a. sonata para piano, op. 49 | ||||||||||||
Holograph piano score in pencil | |||||||||||||
Other title: Sonata no. 2 | |||||||||||||
Dated by the composer, 30-IX-[1]943 | |||||||||||||
BOX-FOLDER 48/15 | 2a. sonata para piano, op. 49 | ||||||||||||
Copyist's manuscript piano score in ink | |||||||||||||
Other title: Sonata no. 2 | |||||||||||||
On p. 1: A Lily Saslavsky Litvin | |||||||||||||
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