Guide to the Lou Harrison Music Manuscripts

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1. Dramatic Works 1941-1996

Physical Description: 18 titles

Scope and Content Summary

Lou Harrison Music Manuscripts are categorized by broad genre, with subdivisions, according to the Groves Music Dictionary and the Lou Harrison Catalogue of Works created by Leta Miller and Charles Hanson. Dramatic genre includes subseries Dance, Incidential and Film and Opera.

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1.1 Dance Scores 1941-1996

Physical Description: 15 titles

Scope and Content Summary

Dramatic: Dance genre includes musical compositions for regulating the movements of a dance, or music composed in a dance rhythm - choregraphed music.

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Waterfront 1934

Physical Description: 2 pages

Subseries Scope and Content Summary

Instrumentation: Percussion

Movements: Three "phases": speed-up, strike, Bloody Thursday

Date: ca. 1935-36

Premiere: Boxing ring, Longshoremen's Union headquarters, San Francisco, CA, date unclear; Second performance: May 17, 1936, Veterans' Auditorium, San Francisco, CA

Choregrapher: Carol Beals

Publisher: Partial manuscript score in composer's archives.

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Folio 4 pages. 1 page autograph sketches/score for Waterfront. 3 pages autograph score Sonata 4th (unpublished / not authorized for performance). 1934

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In Praise of Johnny Appleseed 1942

Physical Description: 33 pages

Subseries Scope and Content Summary

Instrumentation: 3 percussion (One percussion part includes wooden flute). Composer also approved performances with 4 or more players per part

Movements: (1) The Trumpets of Heaven (2) Seed (3) Coronation (4) The Battle with Bunyan (5) Fruition (6) Meeting with the Ancient of Days (7) Ode (8) Whoops for Johnny

Date: 1942

Premiere: May 7, 1942, Holloway Playhouse (Fairmont Hotel), San Francisco, CA: Lou Harrison, John Cage, and ensemble

Choregrapher: Carol Beals

Publisher: Warner Brothers

Length: Variable (see notes)

Notes: A kit in which the players may assemble phrases in any order with various amounts of repetition.

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13 pages, copy of original score from notebook. ca. 1942

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20 pages autograph score. [Music notation and title page not in composer's hand. Performance notes in composer's hand].

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Gigue and Musette 1943

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Date: 1943 (before move to New York City in summer)

Premiere: May 8, 1944, "Evenings on a Roof", Los Angeles, CA: Frances Mullen

Choregrapher: Melissa Blake

Publisher: Unpublished

Cross References: Orchestrated and used in Rhymes with Silver, Movement IIIa (1996)

Notes: Score has composer's autograph signature from later date indicating composition date as 1941.

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Folio, 4 pages. 3 pages autograph score.

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Changing Moment - Dance for Jean Erdman 1946

Physical Description: 10 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Date: February 13-15, 1946

Premiere: 1946, New York, NY (Jean Erdman, Helaine Blok, Elizabeth Sherbon, dancers)

Choregrapher: Jean Erdman

Publisher: Unpublished

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Folio, 6 pages. 3 pages autograph score.

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4 pages photocopy of autograph score (different from above) with performance markings.

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Jephtha's Daughter (A Theatre Kit) 1941

Physical Description: 33 pages

Subseries Scope and Content Summary

Instrumentation: Flutes, percussion, other optional instruments

Movements: Theater kit with dramatic readings, 3 melodies for flute, 4 rhythms for percussion, drones, theater realization

Dates: 1st version: February 26, 1941 (percussion, reader, dance); expanded kit: March 1963 (flute parts and other material added; see notes)

Premiere: March 9, 1963, Cabrillo College, Aptos, CA: David Johnson, music director

Choregrapher: Carol Beals

Publisher: Unpublished

Length: Variable

Notes: A kit in which the composer approves any combination of flute pieces, percussion pieces, drones, chords, colors, etc., interspersed with the dramatic readings. A wedding present for Carol Genieve and Jose Sevilla.

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Folio, 12 pages. 10 pages autograph score, 1941, with sparse additional notes. 1963

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8 pages autograph score with performance notes. ca. 1963

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13 pages autograph material: 1 pages color schema notes, 12 pages "Declamations". ca. 1963

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Solstice ca. 1950

Physical Description: 1 folio

Subseries Scope and Content Summary

The ballet Solstice, composed for the dancer and choreographer Jean Erdman, depicts a myth conceived by Erdman herself relating to the sun and the rotation of the seasons. The work opens in the warmth of summer with the "sun lion" rendered by a luxurious sweeping melody played by flute and cello in octaves. Soon, however, the lord of the night enters in the form of a moon bull and a battle ensues between the principles of darkness and light. The sun lion, temporarily the victor, dances with five animal nymphs during the Earth's Invitation and, in his triumph over the bull, carries off the bride of spring in the Vernal Dance. In part 2, however, the moon bull returns and in his attempt to take the sun out of its season, throws the world into total darkness. He charges the throng of sun, bride, and nymphs in the frenzy of orgiastic Saturnalia, ushering in the darkest days, the winter solstice. The gear of falling into never-ending darkness now demands magical powers to regenerate the life giving sun. The flute appears alone in desolation, calling in a haunting incantation to rekindle the lost light. Slowly the wheel of the seasons turns as the lion and the bull turn to face each other. But instead of battle, the two forces join in a spiritual reconciliation, and the work concludes in the harmony of the blaze of day. Although Harrison calls for traditional instruments in this composition, they are at times used in non-traditional ways. The piano is prepared in advance by inserting tacks in the hammers, thus accentuating the instrument's percussive qualities. During the Entrance of the Moon Bull and the Earth's Invitation, the string bass player abandons his bow and instead beats the strings of his instrument below the bridge with sticks. Combining this effect with the tack piano (and at times with the celesta) Harrison is able to effectively imitate the sound of an Indonesian gamelan. Though an octet, Solstice often gives the impression of a much larger ensemble due in part to the strongly reinforced bass (the second cello frequently doubles the string bass in octaves).

Leta Miller

Instrumentation: Flutes, oboe, trumpet, 2 cellos, contrabasso, tack piano, celesta

Movements: (1) Garden of the Sun (2) Entrance of the Moon Bull (3) Battle (4) Earth's Invitation (5) Vernal Dance (6) Saturnalia (7) Rekindling of the Fire (8) Turning of the Wheel (9) Blaze of Day

Date: Begun 1949, Composition completed: before January 22, 1950

Premiere: January 22, 1950, Hunter Playhouse, New York, NY: Erdman dance troupe

Choregrapher: Jean Erdman

Publisher: Peer, 1978

Length: 27 minutes

Recording: CD: MusM 60241X: Dennis Russell Davies, conductor

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Copy of original score (not in composer's hand) Movements II-IX only. Score has autograph movement titles and music notation additions in composer's hand.

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Prometheus and Io 1951

Physical Description: 24 pages

Subseries Scope and Content Summary

Instrumentation: Piano (revised version for chamber ensemble with vocal parts)

Movements: (I) Tableau; (II) Dance of Anxiety; (III) Lament; (IV) Response; (V) Dance of Defiance.

Date: 1951; revised 1985 (vocal parts added)

Premiere: July 9, 1951, University of Colorado, Boulder, CO: David Tudor. Revised version: September 7, 1985, Athens, Greece

Choregrapher: Jean Erdman

Publisher: Unpublished manuscript

Notes: Score originally titled Prometheus Bound. Vocal parts are variable in performance

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6 pages autograph score. ca. 1951

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5 pages copy of autograph score (different from above) with autograph pencil additions ca. 1985 (Movements I-IV only). ca. 1951

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5 pages autograph piano score. ca. 1985

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7 pages autograph, vocal settings. ca. 1985

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2 pages typed vocal and choral parts with autograph notes (Movements II-V only).

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Western Dance 1947

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: (a) Piano (b) flute, bassoon, trumpet, piano, violin, cello

Date: Fall 1947

Premiere: December 14, 1947, Hunter College, New York, NY

Choregrapher: Merce Cunningham

Publisher: (a) Only: Unpublished

Length: 4 minutes

Note: Dance title: The Open Road

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4 pages autograph score in ink. ca. 1947

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Tandy's Tango 1992

Physical Description: 7 pages

Subseries Scope and Content Summary

Tandy's Tango was composed for use by the delightful dancer Tandy Beal. I had always wanted to write a tango, and when she told me that she was choreographing a sizable number of pieces for the Pickle Family Circus, I took the opportunity to compose this piece for her. It comes from my subconscious memories of the slinky kind of tango sometimes seen in the movies of the 1920s and 1930s. Those were the days in which couples danced in one-another's arms, learned formal dance-steps, could recognize music to dance to by their metrics and melodies and, of course, preceded the days when people simply stood and wiggled at one another.

Lou Harrison

Instrumentation: Piano

Date: June 1992

Premiere: November 27, 1992

Choregrapher: Tandy Beal

Publisher: Various Leaves: A Collection of Brief Works for Piano by Contemporary American Composers (Fallen Leaf Press, Berkeley, 1992)

Length: 3.5 minutes

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2 pages autograph score.

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1 page autograph sketches.

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4 pages computer printed score with notes and admonishments by composer.

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Rhymes with Silver 1996

Physical Description: 44 pages

Subseries Scope and Content Summary

Rhymes with Silver was commissioned by Mark Morris and premiered in 1996 with Yo-Yo Ma. Mark had already choreographed several of my works, including Grand Duo and Homage to Pacifica and this request was for a piece specifically for his company, his musical ensemble and for the virtuosity of cellist Yo-Yo Ma. Mark is a trained musician, which was very important to me in the writing of this work. It allowed me to feel the music kinetically, as he does, and also allowed me to use rhythmic shapes with confidence in Mark's musical expertise. In that respect, I had quite a bit of structure within which to work as well as the fact that Mark tours with a set musical ensemble (violin, viola, cello, piano, and percussion). All of the material in the twelve movements that make up the piece is new, though I did borrow the Gigue and Musette from 1943. I recall that this piece was written during my Los Angeles period, when I was studying with Arnold Schoenberg, and that he liked the piece. In Honor of Prince Kantemir is dedicated to a Romanian prince who maintained a palace in Istanbul. Himself a composer, he had an immense enthusiasm for Ottoman music, and was the first to write a major theoretical work about it, which is still in use. Several of the other movements, for instance Romantic Waltz, Fox-trot, and Round Dance, were written specifically for Mark's musicality and knowledge of these forms and rhythms. The "Allegro" utilizes a particular method which I absorbed from Henry Cowell in the late 1930s. During Henry's San Quentin imprisonment he wrote elastic forms for Martha Graham and was commissioned by Marion Van Tuyl of Mills College, California for an adjustable piece, which I then assembled appropriately to Miss Van Tuyl's choreography. Another example of a kit, as these flexible performance scores in which elements can be rearranged at the pleasure of the performer's are called, is Ariadne, for flute and percussion, written for my friend Eva Soltes. Indian music generally is based on the relation's between a fixed rhythmic scheme and a melodic flow. The Turkish "Usul" is again a fixed rhythmic scheme, but unlike the Indian "Tal" which is varied in such way as to thicken the plot, the Turkish "Usul" is an invariant rhythmic, pattern which, as it were, sustains the melody as pillars of the piece.

Lou Harrison

In Rhymes with Silver there are two kits--- Allegro and Five tone Kit, in the recording of which the realization of each is by Mark himself.

Instrumentation: Violin, viola, cello, piano, percussion

Movements: (1) Prelude (2) Allegro (3) Scherzo (4) Ductia (5) Gigue and Musette (6) Chromatic Rhapsody (7) Romantic Waltz (8) Fox Trot (9) Threnody (10) In Honor of Prince Kantemir (11) 5-Tone Kit (12) Round Dance

Date: November 1996. Movement 3b: 12-95 completed December 1995

Premiere: March 6, 1997, Zellerbach Hall, Berkeley, CA: Yo-Yo Ma, cello

Choreographer: Mark Morris

Publisher: Peer

Length: ca. 22 minutes

Cross references: Movement V arrangment of Gigue and Musette (1942-43)

Note: For Mark Morris and Yo-Yo Ma.

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Movement I, Prelude: 1 page autograph score, pencil. 1 page autograph sketches.

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Movement II, Allegro: 4 pages autograph score/schema, ink. 2 pages autograph sketches.

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Movement III, Scherzo: 1 page autograph score, pencil. 1 page autograph sketches.

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Movement IV, Ductia: 5 pages autograph score, pencil.

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Movement V, Gigue and Musette: 5 pages autograph score, pencil. 2 pages photocopy of autograph score of Gigue and Musette for piano with autograph sketches for version for Rhymes with Silver.

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Movement VI, Chromatic Rhapsody: 3 pages autograph score, pencil. 1 page autograph sketches.

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Movement VII, Romantic Waltz: 3 pages autograph score, ink. 3 pages autograph sketches.

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Movement VIII, Fox Trot: 4 pages autograph score, pencil. 1 page autograph sketches.

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Movement IX, Threnody: 4 pages autograph score, pencil.

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Movement X, In Honor of Prince Kantimir: 6 pages autograph score, pencil. 2 pages autograph revised measures for insert.

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Movement XI, 5 - Tone Kit: 1 page autograph score/schema, pencil. 1 page autograph sketches.

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Movement XII, Round-Dance: 8 pages autograph score, pencil. 2 pages autograph sketches.

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4 pages photocopy of autograph score with slight autograph revision notes.

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3 pages unidentified sketches

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1 page fax from Margaret Fisher with autograph music notation by composer 1 short note from Barry Alterman.

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Adjustable Chorale for Katherine Litz 1951

Physical Description: 4 pages

Subseries Scope and Content Summary

Music used for Chorales for Spring, Black Mountain College, November 29, 1951.

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Small 4 page folio. 2 pages autograph score for Chorale. 2 pages autograph sketches, signed Lou Harrison, BMK [Black Mountain College], 1951

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Photocopies of Lou Harrison autograph scores from the Litz Collection, New York Public Library: 1951

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Adjustable Chorale: 1 page (different from above). 1951

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Chorale for Spring: 1 page. 1951

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Little Gamelon for Katherine Litz to teach with: 1 page. 1951

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The Glyph: 5 pages. 1951

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A Thought on the anniversary of Katherine Litz & Charles Oscar, July 26, 1951: 1 page with small autograph notation by composer ca. 1996. 1951

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Note to Juilan [Teck] with birthday piece to Garrick: 1 page undated

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Praises for Hummingbirds and Hawks (aka Suite for Small Orchestra) 1952

Physical Description: 1 score, 1 page short score

Subseries Scope and Content Summary

Instrumentation: Chamber orchestra

Movements: Set of 5 pieces

Date: 1952

Premiere: April 23, 1952, Brooklyn High School for Homemaking, Brooklyn Music School for Dancers series: students of South Broughton (information from Harris, Arts at Brooklyn Music College?)

Choregrapher: Shirley Broughton

Publisher: Unpublished manuscript. Not authorized for performance.

Notes: Commentary by Broughton. Also known as Suite for Small Orchestra

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Blueprint copy of autograph score with autograph sketches in pencil:

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First Praises for the Beauty of Rivers

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Praises for the Beauty of Hummingbirds

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Little Circus

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2nd Trio - Hawks

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Second Praises for the Beauty of Rivers

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1 page autograph short score Praises for the Beauty of Hawks.

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New Moon 1986

Physical Description: 44 pages

Subseries Scope and Content Summary

Some years ago my friend Eric Hawkins asked for a new work for choreography for his company. He had already done beautiful solo choreography to some of my already composed pieces, and he was an old friend whom I had much admired. I began a work for him and composed a set of movements for the curious and interesting orchestra which the company maintains. This is not a "pickup" orchestra in each city but rather a company orchestra that travels with the group. An exchange of letters and thoughts and tryouts in his studio in New York produced changes, omissions, and one completely new movement before the work was completed. It has turned out that this ballet of Eric's in later years has been acclaimed as a masterpiece, and I am proud and moved that my music is part of his work.

Lou Harrison

Instrumentation: Flute, clarinet, trumpet, trombone, violin, contrabasso, percussion

Movements: (1) Alabado: largo (2) Usul: moderato (3) Bright call: slow but free (4) Barcarole (5) Stampede: molto allegro (6) Epilogue

Date: Begun: May 1986. Movements I, II, III, Movement V completed June 16, 1986; Movement VI completed September 5, 1986. Movement IV completed before November 1989 (replacement for rejected movement from 1986)

Premiere: November 28, 1989, Joyce Theater, New York, NY: Hawkins Dance Company

Choregrapher: Erick Hawkins

Publisher: Frog Peak

Length: 22.5 minutes

Cross Reference: Rejected fourth movement ( Song) used as basis for Fourth Symphony, Movement I (1990)

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Movement I, Alabado: 2 pages autograph sketches.

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Movement II, Usul: 2 pages autograph sketches.

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Movement II, Usul and Movement III, Bright Call: 2 pages with autograph revisions.

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20 pages autograph score with replaced Movement IV, Barcarole.

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13 pages autograph score of rejected Movement IV, Song.

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Movement V, Stampede: 1 page autograph version of "drum pattern".

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Movement VI, Epilogue: 1 page with autograph revisions.

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1 page, fragment of unidentified sketch.

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1 page, autograph introductory notes before Movement IV replacement.

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1 page, photocopy of letter from composer to choreographer.

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Ariadne 1987

Physical Description: Notebook no.

Subseries Scope and Content Summary

Ariadne was composed in 1987 for my friend Eva Soltes to choreograph. Her long background in Barata Natayam dancing suggested to me a modal and "talic" work which I then composed in the form of a "kit" for flute and a percussionist. This may be "assembled" in a number of ways so that the dancer, or the musicians, or both, may order the work to their heart's desires.

The first performance was given by Eva (with flutist David Colvig and percussionist William Winant) at Mills College on the night of my seventieth birthday. A suggestion towards an interesting variety that I have heard... in the first movement the alto flute was used in the low section with the vibes low part. In the "triumph" a sizable section was played on the alto or bass, then a sizable section on the usual flute, and finally a brilliant and extended ending on the piccolo. The effect of these changes was quite wonderful.

Lou Harrison

Instrumentation: Flute, 1 percission (plus dancer)

Movements: (1) Ariadne Abandoned (2) The Triumph of Ariadne and Dionysos

Date: March 30, 1987

Premiere: May 14, 1987, Mills College, Oakland, CA: William Winant, percussion, David Colvig, flute, Eva Soltes, dancer.

Choregrapher: Eva Soltes (Barata-natyam dance)

Publisher: Frog Peak

Length: variable (approximately 9 minutes or longer)

Notes: Movement II is a musical kit: flute and percussion lines may be played in any order or any combination.

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See Series 2 Notebooks: Notebook no.

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The Perilous Chapel 1948-49

Physical Description: 1 notebook

Subseries Scope and Content Summary

The Perilous Chapel was composed by Lou Harrison in 1948 as a ballet for Jean Erdman. Exploring the struggles of the subconscious, the work pits the force of anarchy against the power - the ultimate triumph - of the divine. Although the ballet comprises six movements, the concert version sounds as three large sections, since Movements I and II and Movements III to V are to be played without break. The sixth movement, in itself a third the length the composition, stands alone, exemplifying, in Harrison's words "a dance on the floor of heaven". The entire work may be viewed as an emotional arch, beginning an ending in tranquil serenity. The forces of evil, portrayed in the barbaric dance of Movement III, reach the height of their power in the middle of Movement V, a musical representation of chaos. The dramatic close of this section is then abruptly countermanded by the heavenly transfiguration of the final Alleluia.

According to Harrison, the instrumentation of The Perilous Chapel was inspired by Persian miniatures; the title draws from the works of William Blake. A tetrachordal motive pervades the composition, found in the accompanimental figures of Movement I and V, in the repeated ground bass motive of Movement VI, as part of the melodic figuration of Movement I, and, with octave displacement, in the flute line of Movement III.

Leta Miller, 1989

Instrumentation: Flute, cello, harp, 1 percussion

Movements: (1) Prelude: andante (2) Poco maestoso (3) Barbaro (4) Brilliante (5) Energico (6) Alleluia: Poco adagio

Date: 1948-49; revised 1989

Premiere: January 23, 1949, Hunter Playhouse, New York, NY: Erdman Dance Group

Choregrapher: Jean Erdman

Publisher: Peer, 1990

Length: 13 minutes

Cross Reference:

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See Series 2 Notebooks: Notebook no.21 - Schirmer's Manuscript Music Book, 24 pages.

Note

Note: This notebook contains only sparse sketches of The Perilous Chapel. It also includes the first autograph score of Homage to Milhaud for piano.

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1.2 Incidental Music 1994

Physical Description: 5 titles

Subseries Scope and Content Summary

Dramatic: Incidental music is music played as an accompaniment or 'background' to a play, film, or other performance or entertainment.

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Marriage at the Eiffel Tower 1949

Physical Description: 60 pages

Subseries Scope and Content Summary

In 1921 Jean Cocteau composed the text and designed the decor for a Swedish ballet presentation of his The Marriage at the Eiffel Tower. A ballet with words, the work caused a scandal at once. The music was composed by members of "Les Six" (The Six Composers). Roughly 36 years ago, Bonnie Bird and John Cage presented the ballet at the Cornish School in Seattle. At John Cage's request, a group of U.S. composers composed another group-score for the work. In 1949, at the summer session of Reed College in Portland, Oregon, Bonnie Bird again produced The Marriage at the Eiffel Tower, and for that occasion I composed what is, I believe the only complete score for the ballet which is written by one person. Be that as it may, in 1961 I made a suite from the music and scored it for light orchestra on the occasion of the Santa Cruz Symphony's participation in a new art festival. The Wedding at the Eiffel Tower was a full ballet with a surrealist text spoken by two men on either side of the stage. It contains many narratives and curiosities.... among them that the camera of the wedding's photographer doesn't function properly....things come out of it instead of going in to make an image. Of the stories, I've retained only the one about the death of the general.

Lou Harrison

Instrumentation: (a) Chamber ensemble (flute, clarinet, trumpet, violin, cello, contrabasso, piano, 1 percussion)

Movements: Suite: (1) Overture; (2) Manager and Photographer (before Wedding March); (3) Wedding March; (4) Waltz; (5) Speech by the General; (6) Trouville Bathing Beauty; (7) Funeral of the General; (8) Quadrille.

Date: Summer 1949

Premiere: Chamber ensemble: July 29, 1949, Reed College, Portland, OR, Harrison, conductor

Publisher: Unpublished manuscript

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Movement I, Overture: Two 4 page folio's comprising 4 pages autograph score.

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Movement III, Wedding March: Folio, 4 pages. 2 pages autograph score with orchestration markings in pencil ca. 1961. Additional 4 page folio with 1 page partial score. ca. 1949

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Movement VII, Funeral of the General: 2 pages autograph sketches and short score.

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Movement VIII, Quadrille: Folio, 4 pages. 2 pages autograph score with orchestration markings in pencil. ca. 1961

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Art Dealer's Music. 1 page autograph score for piano.

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Parts:

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Piano: 6 pages. 5 pages autograph score for Movements I, II, IV, VI, VII, VIII.

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Flute: Folio, 4 pages, 2 pages autograph score for Movements I, VII, VIII.

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Clarinet: Folio, 4 pages, 3 pages autograph score for Movements I, III, VII, VIII.

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Trumpet: Folio, 4 pages, 3 pages autograph score for Movements I, III, V, VII, VIII.

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Viola/Violin: 1 page autograph score for Movements VII, VIII.

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Cello: Folio, 4 pages, 3 pages autograph score for Movements I, III, IV, VII, VIII.

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Contrabass: Folio, 4 pages, 3 pages autograph score for Movements I, III, VII, VIII.

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Snare Drum: 1 page autograph score for Movement V.

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The Only Jealousy of Emer 1949

Physical Description: 10 pages

Subseries Scope and Content Summary

Instrumentation: Flute, cello, contrabass, tack piano, celesta

Movements: Incidential music for drama: (1) Music for the Unfolding of the Cloth (2) Eithne Inguba (3) Emer's story; the Evil of Bricriu (4) Emer's Incantation; the Woman of the Sidhe (5) Music for the Folding of the Cloth

Date: Summer 1949

Premiere: July 29, 1949, Reed College, Portland, OR

Choregrapher: Bonnie Bird

Text: William Bulter Yeats, Four Plays for Dancers

Publisher: Unpublished manuscript

Length: 28.5 minutes includes spoken text

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10 pages autograph score on red lined paper, in titled folio. Back of folio, autograph sketches, unrelated - (1) Ingula's Entrance. Music for the Unfolding of the Cloth (2) Andante. Through entrance of Eithne Inguba (3) Emer's Story (4) The Evil of Bricriu (5) Emer's Incantation (6, 7 ,8,) The Woman of the Sidhe (9) Sketches for the Woman of the Sidhe (10) Music for the Folding of the Cloth

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Incidental Music for Cinna 1955-56

Physical Description: 33 pages, 1 folio (46 pages)

Subseries Scope and Content Summary

Instrumentation: Tack piano

Movements: (1) Medium fast (2) Slow (3) Fast (4) Medium slow (5) Medium: grand

Date: 1955-56

Premiere: August 4, 1968: Old Spaghetti Factory, San Francisco, CA: Donald Pippin

Text: Pierre Corneille

Publisher: Xenharmonikon v.3:1 (Spring 1976); Music of the United States of America, v.8, editor Leta Miller

Length: 12 minutes

Notes: Revised title, 1976: Suite for Tack Piano. Sequence of pieces to be performed as prelude, conclusion, and between the acts of Corneille's play. For Henry Allen Moe and the Guggenheim Foundation.

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Movement I: Folio, 8 pages. 6 pages autograph score including title page and tuning schema

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Movement II: 4 pages. 2 pages autograph score

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Movement III: Folio, 6 pages. 5 pages autograph score and sketches

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Movement IV: Folio, 4 pages. 1 page autograph score

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Movement V: Folio, 6 pages. 3 pages autograph score

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Folio, 46 pages. 40 pages autograph sketches and notes

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12 pages autograph score in ink, ca. 1976

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1 page, tuning schema, ca. 1976

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Payatamus - The Rainbow Boy and the Corn Maiden ca. 1975

Physical Description: 12 pages

Subseries Scope and Content Summary

Instrumentation: Vocal soloists, unisex choir, recorder, flute, viola, harp, percussion

Movements: (1) Prelude and Chant (2) Rainbow Boy's Entrance (3) Drought Music (4) Dance (5) Rainbow Boy's Grief (6) Rain Dance

Dates: ca. 1975-79

Text: Elsa Gidlow

Publisher: Unpublished

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12 pages autograph score. 10 pages autograph sketches

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Printed libretto

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Lazarus Laughed 1994

Physical Description: 45 pages

Subseries Scope and Content Summary

Instrumentation: Flute, oboe, trombone, harp, percussion, strings

Movements: Incidental music for radio broadcast of Eugene O'Neill's play

Date: 1994

Premiere: Downlinked to PBS in Winter 1995 for Spring broadcasts on public radio stations. Produced and directed by Erik Bauersfeld and Edward Hastings.

Text: Eugene O'Neill

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Scores

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Act I: 8 pages autograph score; Opening phrase, music for recorded tracks, Musicalized Laugh, 1st Dance, 2nd Dance, Choruses

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Act II: 13 pages autograph score; Opening phrase, music for strings, Caligula's Dance, March, Musicalized Laugh, Choruses

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Act III: 6 pages autograph score; Opening phrase, Miriam, Crucified Lion, Caligula's Dance

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Act IV: 4 pages autograph score; Opening phrase, Musicalized Laugh, Clangor, Final Ascent

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Additional Materials

box-folder 2:5

Caligula's Punic War Song. 2 pages autograph sketches and score

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Whole play harp "cut-offs" and "Horn calls". 2 pages autograph score

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Act I: 5 pages autograph sketches; Opening phrase and Dances

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Act II: 3 pages autograph sketches; March, Caligula's Dance, Mariam (from Scene III, IV)

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Act III: 7 pages autograph/copy of autograph, sketches; Opening phrase, Caligula's Dance, Mariam

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Act IV: 3 pages autograph/copy of autograph, sketches; Opening phrase

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Percussion schema: 1 page autograph phrases

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General melodies for each act: 1 page autograph sketches

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Additional sketches: 3 pages autograph including names of players

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Complete printed script with autograph notes and sketches by Harrison. Includes 11 small papers pieces from each player's score with instrument in composer's calligraphic writing in separate envelope.

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Computer generated score and parts for March in Movement II

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1.3 Film Scores 1968-1987

Physical Description: 3 titles

Subseries Scope and Content Summary

Add scope and content

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Nuptiae - Wedding Song from Nuptiae 1968

Physical Description: 15 pages

Subseries Scope and Content Summary

Instrumentation: 2 part chorus, Filippine kulintang

Movements: Music for film

Date: November 27, 1968

Premiere: May 20-22, 1969

Filmmaker: James Broughton

Publisher: Unpublished manuscript

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5 pages autograph score

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Folio, 4 pages. 3 pages autograph score, rough draft, including title page

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2 pages autograph score of "Chant Version", rough draft

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1 page autograph score of "Chant Version", final copy

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3 pages sketches

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Discovering the Art of Korea 1979

Physical Description: 18 pages

Subseries Scope and Content Summary

Instrumentation: Variety of East Asian instruments, harp, bells, miscellaneous percussion.

Movements: Set of movements for film

Date: 1979

Filmmaker: David Myers

Publisher: Unpublished

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18 pages autograph sketches and fragments for various instruments.

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Air from the Scattered Remains of James Broughton - Air for the Poet 1987

Physical Description: 30 pages

Subseries Scope and Content Summary

I met the poet and filmmaker James Broughton in the 1940's after one of my percussion concerts. Many years later James asked me to write for his film The Scattered Remains of James Broughton. The film was created by James himself and his friend Joel Singer.

Lou Harrison

Instrumentation: (a) Metallophone, drum (b) solo instrument with 2 ostinati (c) orchestra

Movements: Music for film

Date: Autumn 1987

Filmmaker: James Broughton and Joel Singer, The Scattered Remains of James Broughton

Publisher: Frog Peak

Length: 3.5 minutes

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Versions (a) and (b); 3 pages photocopy and autograph score with pasted over revisions. 3 pages photocopy with autograph sketches toward version (c).

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Version (c) 24 pages autograph score.

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13 pages parts: Photocopy of autograph score with pencil markings.

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1.4 Opera 1941-1996

Physical Description: 2 titles

Scope and Content Summary

Dramatic: Opera is a dramatic musical work in which singing forms an essential part, chiefly consisting of recitatives, arias, and choruses, with orchestral accompaniment.

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Rapunzel 1952

Physical Description: 1 folder

Subseries Scope and Content Summary

This opera is not yet processed. 6/10/05

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Young Caesar [Puppet version] 1970

Physical Description: 1 box

Subseries Scope and Content Summary

This Opera is based on actual events in the early life of Julius Caesar, who became a Roman statesman and one of the greatest military commanders in world History. Part I takes place in Italy, starting in c. 86 B.C. Part II is set in Bithynia, an ancient country of northwestern Asia (now Turkey). Bithynia was an independent kingdom for two-and-one-half centuries, from the death of Alexander the Great until 74 B.C., when King Nicomedes willed it to Rome. Young Caesar has fourteen scenes, seven in each part.

Instrumentation: (a) 5 instrumentalists playing a variety of Asian, European instruments, including American Gamalan; 5 puppeteers, 5 singers; (b) arranged for orchestra (flute, oboe, trumpet, organ, harp, tack piano, 5 percussionists, strings) by Kerry Lewis

Movements: Opera (2 acts, 14 scenes)

Date: Begun 1970; completed October 1971; (b) November 1977

Premiere: (a) November 5, 1971, California Institute of Technology, Pasadena, CA (premiere of entire opera; excerpts performed prior to this date)

Text: Robert Gordon

Publisher: Peer (both versions)

Length: 2 hours

Cross Reference: Revised and made into standard opera version with chorus added, 1988. See listing in 1988

Note: Commissioned for Encounters (Pasadena, CA) by the Judith S. Thomas Foundation.

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Part 1

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1 page autograph score Beginning of Young Caesar. 3 pages autograph score Scene I(a), Scene I(b) Prelude and Prelude II. 1 page autograph score Scene I(c) Introduction.

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3 pages autograph score., Scene I(d) Overture, for five players. 7 pages autograph score, Overture, for seven players.

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17 pages autograph score, Scene I(e); Libretto, To the Atrium, Exit All.

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10 pages autograph score. Prelude to Scene II, Scene II voice and instruments, Music for Shadow Scene of Pisa and the Funeral.

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5 pages autograph score. Scene II, Procession.

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10 pages autograph score. Scene III, Noon on the Campus Martius.

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11 pages copy of autograph score. Scene IIII, Overture. Scene IIII(a), Narrator. Scene IIII(b) Cossutia's Despair.

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5 pages autograph score. Scene V, Libretto and Lullaby.

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10 pages autograph score. Scene VI with revision markings in red. 16 pages autograph score, revised.

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33 pages autograph score. Scene VII.

box-folder 17:11-20

Part II

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4 pages autograph score Part II, Overture, for five players. 4 pages autograph score Part III, Second Overture for seven players, used in Episodes from Young Caesar.

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10 pages autograph score. Scene VIII with Procession.

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7 pages autograph score. Scene IX with Palace Music.

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10 pages autograph score. Scene X with Whirling Dance and Acrobat.

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9 pages autograph score. Scene X, Eroticon.

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10 pages autograph score. Scene XI, vocal sheets and instrument sheet.

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12 pages autograph score. Scene XII, with Procession.

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10 pages autograph sketches/score. 29 pages autograph score. Scene XIII.

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13 pages autograph score. Scene XIIII.

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19 pages autograph score. At the Monument to Archytas.

box-folder 17:21-37

Sketches

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Prelude: 5 pages autograph sketches.

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Introduction. 1page autograph sketches.

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Overture. 4 pages autograph sketches.

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Scene I. 2 pages autograph sketches.

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Scene II. 2 pages autograph sketches.

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Scene III. 5 pages autograph sketches.

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Scene IV. 3 pages autograph sketches.

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Scene V. 1 page autograph sketches.

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Scene VI. 3 pages autograph sketches.

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Scene VII. 3 pages autograph sketches.

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Scene IX. 2 pages autograph sketches.

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Scene X & XI. 9 pages autograph sketches.

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Scene XII. 5 pages autograph sketches.

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Scene XIII. 5 pages autograph sketches.

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Scene XIV 2 pages autograph sketches.

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General. 29 pages autograph sketches.

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Episodes from Young Caesar by Lou Harrison

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Movement I, First Overture. 5 pages autograph score by Kerry Lewis.

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Movement II, Procession. 6 pages autograph score by Kerry Lewis.

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Movement IV, Second Overture. 5 pages autograph score by Kerry Lewis (incomplete).

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Additional Materials

box-folder 17:41

Artwork by Lou Harrison.

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14 pages original multicolor scene designs. These designs became enlarged paintings and were used as the backdrop for first production.

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Artwork by others

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6 pages autograph design work by Harrison for Puppets.

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7 sketches for costume and scene design by Rick Young.

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Technical sketches by William Colvig.

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Correspondence 1970-1995

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Letter from Bob Berner. Letter includes description and detailed designs for the scroll apparatus. July 23, 1970

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Telegram from Ned Rorem, August 21, 1971

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Lincoln Center letter of commission.

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Letter from Harrison to Mark Morris regarding Morris' backing out of project.

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Programs and Reviews.

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4 Photographs of puppet production with copies.

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Two complete librettos translated to German for a proposed production which did not occur.

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Copy of score with autograph sketches by Harrison attempting to fit translated libretto into music schema

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Young Caesar [standard Opera version] 1988

Physical Description: 1 box

Subseries Scope and Content Summary

This Opera is based on actual events in the early life of Julius Caesar, who became a Roman statesman and one of the greatest military commanders in world History. Part I takes place in Italy, starting in c. 86 B.C. Part II is set in Bithynia, an ancient country of northwestern Asia (now Turkey). Bithynia was an independent kingdom for two-and-one-half centuries, from the death of Alexander the Great until 74 B.C., when King Nicomedes willed it to Rome. Young Caesar has fourteen scenes, seven in each part.

Instrumentation: Male and female soloists, male chorus, chamber orchestra (flute, oboe, trumpet, organ, harp, tack piano, 5 percussionists, strings)

Movements: 14 scenes

Date: 1988

Premiere: April 9-10, 1988, Portland, OR: Portland Gay Men's Chorus, Virtuosi della Rosa, Robert Hughes, conducting.

Text: Robert Gordon

Publisher: Peer

Length: 2 hours

Cross Reference: Based on 1970 Puppet version

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First Transcription by Kerry Lewis.

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4 pages autograph title page, production notes, singers, and instrumentation.

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198 page autograph score.

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Spiral bound score of Part I with additions and corrections with autograph further revision notes.

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Autograph score of Prelude to Scene II and Scene II.

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Copy of Scene VIII with autograph addition of chorus.

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Scene I, Exit All. Copy of score with autograph addition of chorus.

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6 photo proof sheets of Portland production

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Final Revisions

Note

Note: These revisions have not been performed as of June 30, 2005.

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Caesar's 1st Aria. 4 pages autograph sketches, 2 pages autograph short-score.

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Caesar's 2nd Aria. 2 pages autograph short-score.

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Julia's Aria. 2 pages autograph short-score.

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Caesar's Aria Scene IX. 2 pages autograph sketches, 2 page autograph short-score.

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Nicomedes Aria Scene XI. 1 page autograph sketch. 1 page lyric. 2 pages autograph short-score. 4 pages [photocopy] of autograph full score.

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Nicomedes Aria Scene XIII. 2 pages autograph short score.

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96 page spiral bound music notebook with 4 pages autograph sketches.

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2. Orchestra 1942-1997

Physical Description: 10 titles

Scope and Content Summary

Orchestral works are listed by Full Orchestra (Symphonic orchestra), Chamber Orchestra (small orchestra), and String Orchestra.

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Elegiac Symphony 1942

Physical Description: 1 box

Subseries Scope and Content Summary

Harrison had already begun work on his Elegiac Symphony [in 1945], but it would be another quarter-century before he finished it. The first sketch for the symphony is dated October 11, 1942, but it was not completed until 1975. It is dedicated to the memory of the longtime conductor of the Boston Symphony Orchestra, Serge Koussevitzky, and his wife Natalie. Harrison credits another great conductor (who was also associated with the Boston Symphony Orchestra), Pierre Monteux, with encouraging the creation of movements two and five. There is a strong spiritual impulse to Harrison's music. The five movements of the Elegiac Symphony are titled " Tears of the Angel Israfel", " Allegro, poco presto", "Tears of the Angel Israfel II", "Praises for Michael the Archangel", and " The Sweetness of Epicuros". "The large orchestra includes two harps, a piano, and a tack piano", Harrison has written. " Serge Koussevitzky was a brilliant virtuoso on the contrabass viola, and that fact is reflected in my writing for two solo contrabassi in the third movement (the second of the "Tears of the Angel Israfel") only on harmonics; they play a mode first noted down by Claudius Ptolemy in third-century Alexandria.

"The angel of music, Israfel ('whose heartstrings are a lute' - Edgar Allan Poe ) stands with his feet in the earth and his head in the sun," Harrison further has written. "He will blow the last trumpet. Six times daily he looks down into hell and is so convulsed with grief that his tears would inundate the earth if Allah did not stop their flow. For three years he ministered to Mohammed before Gabriel took this office, although Israfel in nowhere mentioned in the Koran". Harrison has added two particularly poignant epigrams: Epicuros said of death: "Where Death is. we are not; therefore, Death is nothing to us"; and, perhaps even more revealing, from Horace: "Bitter sorrows will grow milder with music"

Here is beautiful music - straightforward, deeply felt, expertly made yet far removed from deliberate cleverness, serene, affirmative, even holy.

Tim Page - CD: Music Masters 6020 4K American Composers Orchestra: Dennis Russell Davies, conductor

Instrumentation: Orchestra (3-3-3-3; 4-3-3-1; timpani-3 percussion-piano-tack piano-2 harps-organ-celesta-vibrafone; strings)

Movements: (1) Tears of the Angel Israfel (2) Allegro, poco presto (3) Tears of the Angel Israfel 2 (4) Praises for Michael the Archangel (5) The Sweetness of Epicurus

Date: Movement I begun 1958; Movements II, V, begun 1942; Movement IV, 1946-47. See Cross Reference: Symphony completed November 15, 1975; revised 1988

Premiere: December 7, 1975, Paramount Theater, Oakland, CA: Oakland Symphony Youth Orchestra, Denis de Coteau, conductor

Publisher: Peer, 1977, 1988

Length: 33.5 minutes

Cross References: Movement I: revised version of overtures II or III from the Political Primer (1958). Movement II: revised version of Canticle #6, Movement I (1942). Movement IV: revised and orchestrated for organ work with same name (1947). Movement V: revised version of Canticle #6, Movement II, Passacaglia; 1942

Notes: Commissioned by Koussevitzky Foundation. To the memory of Natalie and Serge Koussevitzky.

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Movement I, Tears for the Angel Israfel:

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11 pages, photocopy of autograph score of original version before revisions. [See also manuscript materials in Political Primer]

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Movement II, Allegro poco presto:

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16 pages copy of autograph score

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Folio, 4 pages piano sketches of Allegro (Movement I) from Canticle #6

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Folio, 4 pages. 1 page autograph sketches of Allegro from Canticle #6, with 3 pages unrelated material including fragment from Suite for Cello and Piano, Movement II

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Folio, 20 pages autograph full score of Allegro from Canticle #6

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Movement III, Tears for the Angel Israfel (2):

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16 pages copy of autograph score, original version before revisions

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15 pages photocopy of autograph score, original version with autograph revision markings

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12 pages copy of autograph revised score

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Movement IV, Praises for Michael the Archangel:

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22 pages blueprint copy of autograph. Folio, 4 pages. 3 pages autograph sketches for organ version of Praises for Michael the Archangel

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1 page unidentified sketches

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Movement V, The Sweetness of Epicuros:

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14 pages blueprint copy of autograph score. Folio, 16 pages. 15 pages autograph full score of Passacaglia (Movement II) from Canticle #6

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Folio, 32 pages including piano score of Rondo, Movement III of Canticle #6. Autograph full score of Rondo, Movement III of Canticle #6. Title page of Canticle #6 and performance notes

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Spiral bound photostat copy of autograph score of Canticle #6 with revision notes in pencil

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1 partial page tuning schema for "Bells for Elegiac Symphony"

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1 page tuning schema for contra bassi in Movement III of Elegiac Symphony

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1 page autograph score. First 5 measures of Movement II, Elegiac Symphony

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1 page autograph partial score/sketch of Movement III, Elegiac Symphony, with letter to Gibson Walters on reverse

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1 page short score of Movement III, Elegiac Symphony

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1 page autograph score. Opening measures of Movement IV, Elegiac Symphony

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1 page blueprint copy of page 4, Movement IV, Elegiac Symphony. Revision markings in red pencil

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Third Symphony 1982

Physical Description: 5 folders

Subseries Scope and Content Summary

My Third Symphony was written for Dennis Russell Davies on the occasion of the 20th anniversary of the founding of the Cabrillo Music Festival. Since it was commissioned by the Festival it was clear that many of my friends had contributed to making it possible and therefore I expressed my hope that their various tastes would find at least something pleasurable. I also had continuously in mind Dennis's immense conducting powers and the goodness of his personality. Movement I is a simple A B A form because in composing it, it flatly refused to become a symphonic sonata shape, in a sense, the whole center section is the second thematic. Following the idea that I used in my Symphony on G, the scherzo section is a little suite consisting of a Reel in Honor of Henry Cowell and A Waltz for Evelyn Hinrichsen and an Estampie for Susan Summerfield. The Largo Ostinato which constitutes the 3rd movement was commenced in San Francisco in 1937 and reached its completion in 1982. This in keeping with my pretense that civilization may go on and therefore I might take time to try to make a good thing. The 4th movement has undergone two full revisions. I regard the writing of a symphony as, at least in some part, the creation of a world and one which to my mind needs the balance of humor, seriousness, and both drama and lyricism.

Lou Harrison

Instrumentation: Orchestra (3-3-3-3; 4-3-3-1; celesta, tack piano, harp, percussion, strings)

Movements: (1) Allegro moderato (2) a. A Reel in Honor of Henry Cowell; b. A Waltz for Evelyn Hinrichsen; c. An Estampie for Susan Summerfield (3) Largo Ostinato (4) Allegro

Dates: August 9, 1982, revised 1985

Premiere: August 29, 1982: Cabrillo Music Festival, Aptos, CA: Dennis Russell Davies, conductor

Publisher: Peters, 1982

Length: 33 minutes

Cross References: Movement I: revised version of Overture 2 or 3 of the Political Primer (1958; manuscript sketches in composer's archives fail to clarify which movement). Movement IIa: revised and orchestrated version of Reel: Homage to Henry Cowell (1939). Movement IIb: orchestration of Waltz for Evelyn Hinrichsen (1977). Movement IIc: revised and orchestrated version of Estampie for Susan Summerfield (1981). Movement III: revised and orchestrated version of Largo Ostinato (1937, revised 1970). Movement IV: revised version of Overture 1 from Political Primer (1958).

Notes: Additional materials for this Symphony are included in the Political Primer files.

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Movement I, Allegro:

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Folio, 16 pages. 13 pages autograph score.

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1 page autograph sketches.

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Movement II:

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(a) A Reel in Honor of Henry Cowell: Folio, 16 pages. 13 pages autograph score.

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(b) A Waltz for Evelyn Hinrichsen: Folio, 6 pages. 4 pages autograph score.

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(c) An Estampie for Susan Summerfield: Folio, 36 pages. 25 pages autograph score (in different hand from composer with corrected paste overs in composer's hand). 10 pages photocopy of original work for organ with orchestration markings (short-score).

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Movement III, Largo Ostinato:

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Folio 8 pages. 6 pages autograph score.

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4 pages blue-print copy autograph original work for piano, with autograph short-score in pencil. Folio, 6 pages. 3 pages autograph sketches.

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1 page autograph score of final revisions, five new measures from measure 45.

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1 page photocopy of autograph revisions with additions in pencil.

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1 page autograph short-score measures 34-42 with initial movement references.

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Movement IV, Allegro:

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36 pages autograph score, including paste-over revisions. 1 page autograph score: addition of two medium drums, measures 224-319.

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Folio, 4 pages. 2 pages autograph score from an unfinished work, ca. 1953, that was absorbed into the Political Primer and then to the Third Symphony.

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1 page autograph sketches/score: A Happy Journey to Jack Heliker on his third trip to Italy, absorbed into Movement IV of this Symphony.

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3 pages autograph score of final revisions, measures 35-68.

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Additional materials

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Published score, copy of autograph with notes and revisions in pencil and ink; composer's hand.

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Symphony No. 4 (Last Symphony) 1990

Physical Description: 12 folders

Subseries Scope and Content Summary

Originally called Last Symphony my chronologically fourth was prepared for Dennis Russell Davies, the Brooklyn Academy of Music and the Brooklyn Philharmonic. As is very usual to me I found that I was right away wanting to change the piece. In the first place it needed paring down from fifty minutes and a number of other things. Having worked it over again for a performance at the Cabrillo Music Festival I was still restless about it and made more alterations for Basle and have, I hope, reached a final version. I regard a symphony as a kind of world---and it does take some time and thought to make a world . It also needs variety and inter-relationships among its parts. Here two of my movements are chromatic and intervalic and two of them are modal - both six-tone and five-tone. I have also written three Amerindian stories into the work, one of them especially written for me by Daniel Harry-Steward, who lives in Seattle and is of California Wintu anchestry.

As a matter of fact now the piece begins with a kind of "prelude" composed using Javanese methods but in European chromatic style and then moves to a vigorous "stampede" in a medieval European form, in two rarely used six-toned modes. The following slow movement is chromatic in European style, has a little melodic procession in it, and leans toward a resigned sort of ending. The last movement asks for a baritone to sing and rhythmically recite three Coyote Stories, thus bringing the whole symphony home to essential America.

Lou Harrison

Instrumentation: Baritone (originally tenor), orchestra (3-3-3-3; 4-3-3-1; 4 percussion-tack piano-celesta; strings)

Movements: (1) Largo (2) Stampede: poco presto (offered to William Colvig) (3) Largo (4) Introduction "Coyote's Path" Story I; "Coyote's Path" Story II; "Coyote's Path"; Story III Finale

Date: August 31, 1990, revised 91, 93 and 95. Movement IV, orchestration and expansion of work from 1984 (see cross references).

Premiere: November 2, 1990, Brooklyn Academy Opera House: Brooklyn Philharmonic, New York, N.Y.; Dennis Russell Davies, conductor; Damon Evans, tenor

Text: Movement IV: stories 1 and 3: tradational American Indian tales (see listing for Coyote Stories, 1987); story 2: Daniel Harry-Steward

Publisher: Peer, 1993

Length: ca. 48 minutes

Cross References: Movement I: based on rejected fourth movement of New Moon (1986). Movement IV: outer parts of the movement are an orchestration of the Foreman's Song Tune (1984) with two of the Coyote Stories (1987); new middle section added with text by Harry-Steward.

Notes: Commissioned by Brooklyn Philharmonic Orchestra and Brooklyn Academy of Music. For Dennis Russell Davies. Movements II and IV previously reversed; listing here reflects latest version. Archive materials are organized by original placement of movements to avoid confusion.

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#1: 3 pages, autograph title page and performance notes.

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Movement I, Largo:

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#2: 25 pages autograph score, revisions pasted over original version.

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#3: 6 pages copy of autograph/autograph revisions.

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#4: 12 pages photocopy over rejected Movement IV from New Moon with autograph revision markings for Fourth Symphony.

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Movement II, Coyote Stories:

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#5: 9 pages autograph score; introduction, Coyote's Path.

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#6: 3 pages autograph revisions. 4 pages autograph sketches.

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#7: Story I:

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2 pages typed words with autograph music notation for tenor.

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#7: Story II

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1 page typed words with autograph pitched music notation for tenor (original version).

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3 pages typed words with autograph sketches for rhythmic structure; non pitched.

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3 pages typed words with autograph rhythmic structure with percussion notation (final version).

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Story III:

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2 pages typed words with autograph music notation for tenor.

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2 pages typed words with autograph music notation for baritone.

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Movement III, Largo:

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#8: 7 pages autograph score with revisions pasted over original score.

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#9: 1 page autograph sketches. 6 pages autograph/photocopy with score/sketches with comment by composer.

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#10: 7 pages autograph score.

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Movement IV, Stampede

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#11: 43 pages autograph score.

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#12: 11 pages autograph short score/sketches.

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Additional Materials

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#1, First published score: Copy of autograph with autograph revisions.

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#2, Copies of autograph score with revisions added.

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#3, First engraved score with revisions added.

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#4, Revised version of Movement I. 1992

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#5, Engraved score with revised Movement I with autograph new revisions.

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#6, Engraved score with autograph corrections and revisions.

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#7, Engraved score with corrections and revisions added.

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Four Coyote Stories. 7 pages typed words with autograph music notation.

Note

Originally added to The Foreman's Song Tune (1983) in March of 1987. Four Native American tales quoted from Bruce Walter Barton, The Tree at the Center of the World. Two of these tales, "People" and "Children yet to Come" are used in the Fourth Symphony. Story #2 in the Symphony is by Daniel Harry-Steward.

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Concerto for P'i-p'a with String Orchestra 1997

Physical Description: 6 folders

Subseries Scope and Content Summary

Having just completed a work for unaccompanied Japanese Sangen, I began my Concerto for Chinese P'i-p'a with String Orchestra by writing single tones chromatically. Something felt uncomfortable so I constructed a set of six-tone modes and asked Wu Man if they were okay on the p'i-p'a. She said that they were, so I designed their use in five movements, their home-tones falling on the open strings of the p'i-p'a plus on one more tone which is a good "key" also.

It was Dennis Russell Davies who asked me for such a work over a several year period, and Lincoln Center for the Performing Arts Inc. who generously supported its composition. Therefore, the Concerto is dedicated to Dennis Russell Davies, Wu Man, and Lincoln Center for the Performing Arts, Inc.

Lou Harrison

Instrumentation: P'i-p'a, string orchestra

Movements: (1) Allegro moderato (2) Bits and Pieces: a. Troika; b. Three Sharing; c. Wind and Plum, an Elegy for Liu Tien Hua; d. Neapolitan (3) Threnody to the Memory of Richard Locke (4) Estampie

Date: March 3, 1997

Premiere: April 26, 1997, Lincoln Center., New York, N.Y.: Wu Man and the Stuttgart Chamber Orchestra, Dennis Russell Davies, conductor

Publisher: Peer

Length: 27 minutes

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Movement I, Allegro:

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7 pages autograph score, pencil.

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Movement II, Bits and Pieces:

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(a) Troika; 3 pages autograph score, pencil.

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(b) Three Sharing; 2 pages autograph score, pencil.

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(c) Wind and Plum; 1 page autograph score, pencil.

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(d) Neapolitan; 2 pages autograph score, pencil.

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Movement IV, Estampie: 11 pages autograph score, pencil

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Spiral bound music notebook. 14 pages autograph sketches and notes.

box 6

5 inserted pages including sketch revisions, modes of the Concerto, obituary for Richard Locke.

box 6

10 pages autograph sketches, large format paper.

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Alleluia for Small Orchestra 1945

Physical Description: 104 pages

Subseries Scope and Content Summary

Instrumentation: Chamber orchestra (2 flutes, 2 oboes, clarinet, bass clarinet, 2 horns, harp, strings)

Date: Begun August 1943, completed January 1945

Premiere: May 8, 1951, McMillin Theater, Columbia University, New York, N.Y.: Manhattan School Chamber Orchestra, Harris Danziger, conductor

Publisher: New Music Quarterly, XXI/2, January 1948

Notes: Notebook also includes Motet for the Day of Ascension and Triphony

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Cardboard bound folio, 36 pages. 30 pages autograph score

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8 pages autograph short-score

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6 pages autograph parts

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Folio, 54 pages Manuscript music book. Pages 6-13, autograph short-score. 8 pages autograph short-score

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New Music Quarterly, XXI:2 1948

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Motet for the Day of Ascension 1945

Physical Description: pages

Subseries Scope and Content Summary

Instrumentation: Chamber orchestra (4 violins, 2 cellos, contrabass, harp)

Date: Begun February 1945, completed May 16, 1945

Premiere: April 5, 1946, New York, NY, Little Symphony: Lou Harrison, conductor

Publisher: Unpublished manuscript

Notes: Notebook also includes Alleluia and Triphony

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Folio, 12 pages autograph score with revision markings and notes

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Folio, 8 pages. 1 page title and 2 pages autograph revisions marked "Revisions I" and "Revisions II"

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Seven 4 page folios with autograph parts

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Folio, 54 pages. Manuscript music notebook, autograph short score and sketches, pages 20-31

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Symphony on G 1947-64

Physical Description: pages

Subseries Scope and Content Summary

The title itself (on G, not in G) refers to the fact that the whole work, though serially composed with twelve tones, is nonetheless centered on the note G. In the first three movements the technique is classical 12-tone procedure, but in the Finale I have ignored the forbiddance concerning octave-conjunction, and have written freely in the "grand-manner". This Finale was composed especially for Gerhard Samuel, whose interest in the work brought the symphony to its present state, and to whom it is dedicated. Beginning in 1948 (during recovery from a breakdown) I worked on various sections of it, off and on, until 1954. Later, Robert Hughes brought me together with Maestro Samuel who then premiered the Symphony in its first state - with the old Finale - at the Cabrillo Music Festival in 1964. Although it was well received, I was nevertheless dissatisfied with the full shape of the piece, and, when the conductor wished to program it for his regular Oakland Symphony season in 1966, I took advantage of the occasion to make a new, and final Finale. Thus, the second "premiere" was the first full one. The Scherzo "section" is actually a whole little Suite, in four movements - Waltzes, Polka, Air, and Rondeau - an idea that is already incipient in the classical Minuet with Trio, or Scherzo and Trio. Here I have simply expanded it a bit, and in the Rondeau, made a piece for only a trio of Piano, Tack-Piano, and Harp, which, as it were, stands as a kind of "cadenza" for the whole Symphony, just before the Finale. The Allegro Deciso, Largo, and the Finale are according to common symphonic practice. One 12-tone Row was used throughout, and instrumentation is for medium forces, without bassoons or tubas but including both piano and the tack piano.

Lou Harrison

Instrumentation: Orchestra (2-3-3-0; 2-2-2-0; timpani-percussion-piano-tack piano-2 harps; strings)

Movements: (1) Allegro deciso (2) Largo (3) Scherzo (a. Waltz, b. Polka, c. Song, d. Rondeau) (4) Largo - Molto allegro, vigoroso, poco presto.

Date: 1947-64, revised 1966 (new finale). Movement I: short score, December 26, 1947. Parts of Movements II and III: Summer/Fall 1947. Movement IIIb: short score, October 9, 1953. Completed first version: 1964. New finale, 1966.

Premiere: August 23, 1964, Cabrillo Music Festival, Gerhard Samuel, conductor; Revised version, February 8, 1966: Oakland Symphony, G. Samuel, conductor.

Publisher: Peer, 1975

Length: 35 minutes

Cross References: Movement IIIc: short score completed 1947; revised in 1949 as Movement IV of Suite for Cello and Harp; revised and orchestrated for completion of symphony in 1964.

Notes: Movement IIIc for John Cage; Movement IIId for Jack Heliker; Movements IIIa-b for "Leona" and "Janet", patients at Presbyterian Hospital, New York, N.Y.

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1 page autograph row chart.

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Movement I: Folio, 24 pages. 14 pages autograph short score with some sketches and notes.

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Movement II: Folio, 14 pages. 8 pages autograph short score with sketches and revisions. 2 pages autograph sketches.

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Movement III a (Waltz). Folio, 10 pages. 6 pages autograph score with sketches and revisions.

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Movement III b ( Polka). Folio, 8 pages. 3 pages autograph short score with sketches and revisions.

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Movement III c ( Song). Folio, 6 pages. 2 pages autograph short score with sketches and revisions.

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Movement III d ( Rondeau). Folio, 6 pages. 3 pages autograph score with notes. 1 page autograph sketches. Folio, 4 pages. 3 pages sketches.

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Movement IV ( original before revised).Folio, 28 pages. 16 pages autograph short score with sketches. 1 page autograph sketches.

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Movement IV ( revised). Folio, 20 pages. 14 pages sketches for new Finale.

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First Suite for Strings 1948

Physical Description: 45 pages

Subseries Scope and Content Summary

Instrumentation: String orchestra

Movements: (1) Allegro moderato (2) Adagio cantabile (3) Molto moderato (4) Poco lento, affetuoso (5) Allegro

Date: 1946-48. Movement II: March - August 10, 1947; Movement III: May 14, 1946 (based on earlier works; see cross references). Rest of work begun 1947, completed 1948. Movement II revised 1991.

Premiere: May 21, 1948, National Institute of Arts and Letters, New York, N.Y. (now the American Insitute and Academy of Arts and Letters)

Publisher: Peer, 1978 and 1991

Cross References: Movements I and II: incorporated without alteration into New First Suite (1995). Movement III based on a series of revisions as follows: Passacaglia completed 1937; revised version used in Canticle #2, Movement I (1942); heavily revised version, titled Ground for Strings: Version for two pianos, completed May 14, 1946; this Ground is a piano version of First Suite for Strings, Movement III. In New First Suite for Strings (1995), this movement is abandoned. Movement IV: expanded from 12mm to 47mm for New First Suite. Movement V: replaced by new movement in New First Suite.

Notes: Entire work supplanted by New First Suite for Strings (1995)

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Folio, 18 pages, Autograph score of Canticle #2. Movement I, pages 3-6, used in original Movement III.

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2 folios, 8 pages each. 12 pages autograph score for Ground for Strings version for 2 pianos.

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Folio, 12 pages. 5 pages autograph score of Movement I, Moderato.

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Folio, 4 pages. 2 pages autograph score of Movement II, Adagio.

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5 pages unidentified sketches.

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New First Suite for Strings [supplants First Suite For Strings, 1948, revised 1991, 1995 1991-95

Physical Description: 18 pages, 1 bound parital score

Subseries Scope and Content Summary

Although it had been played at a meeting of what is now the American Academy of Arts and Letters, and been made available by the publisher "Peer " I had never really been satisfied that the work was all that it could have been. About four years ago I revised the slow second movement and a performance in Portland persuaded me that I was on the right track. Back and forth over compositional time I went: the dance movement which is movement three reaches back to the Thirties for its main tune and is written in an interesting mode, the final chaconne reaches back to the early Fifties for its beginnings, the fourth movement finally received the intensification that it originally needed. The alternation of modal and chromatic composition was intended from the beginning and the use of counterpoint based for the most part on the second and the fourth does indeed allow melodies to go where they want to go, singly more often than not. Thus my reflections on Jenkins, Coperario, Frescobaldi, and other of the earlier baroque come to a modern concert version. My dedication of the work is to Mary Woods Bennett and is meant to express my thanks and admiration to her and also my thanks and admiration to Mills College which she so long and so well served.

Lou Harrison

New First Suite for Strings (1948; revised 1995)

Asked once how he knew when a composition was finished, Harrison responded, "When it stops itching." The First Suite for Strings, now finally completed to his satisfaction, itched for over a half century. It all began in 1937 with the composition of a Passacaglia for piano; five years later he revised the work and coupled it with a Ricercare on Bach's Name to form Canticle #2. Still dissatisfied with the Passacaglia in 1946, Harrison reworked it a third time into a Ground for Strings which became the third movement of his First Suite for Strings. Harrison "completed" his First Suite for Strings in 1947 and it was premiered at the National Institute of Arts and Letters in May 1948 when the organization awarded him a creative grant. The piece was published in 1978 and republished in 1991 (with alterations). Even then, however, the old Passacaglia - now in its third metamorphosis - still itched, as did several other movements. In 1995 Harrison revised the Suite one final time. In doing so, he threw out the old Passacaglia- Canticle #2- Ground for Strings as well as the finale from 1947 and replaced them by two new movements; he expanded the Lento fourth movement from 12 to 47 measures; and he graced the whole with a revised title. It seems that his itch has been satisfied - at least for the time being.

Leta Miller, 1997

Instrumentation: String orchestra

Movements: (1) Fantasia (2) Chorale (3) Round-Dance (4) Threnody (5) Chaconne

Date: Movements I, II: from First Suite for Strings, Movement III: completed February 12, 1995 on tune from the 1930s. Movement IV: revision of First Suite for Strings; Movement IV (expanded from 12 to 47 mm), November 17, 1994. Movement V completed ca. 1950, revised 1994.

Premiere: September 8, 1995, Majorca, Spain: Stuttgart Chamber Ensemble, Stuggart, Germany; Dennis Russell Davies, conductor

Publisher: Peer

Length: 16 minutes

Cross References: Revised version of First Suite for Strings (1948).

Notes: Dedicated to Mary Woods Bennett.

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Movement III, Round Dance, 6 pages autograph score.

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Movement IV, Threnody, 2 pages autograph score.

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Movement V, Chaconne, 4 pages autograph score.

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Folio, 6 pages. 4 pages autograph sketches of Movement V.

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Spiral bound computer printed partial score with autograph revisions and notes.

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Suite #2 for Strings 1948

Physical Description: 8 pages, 1 bound score

Subseries Scope and Content Summary

Instrumentation: String orchestra (string quartet approved by composer)

Movements: (1) Adagio, molto cantabile (2) Allegro moderato (3) Allegro moderato, tranquillo

Date: 1948

Premiere: March 15, 1949, McMillin Theatre, Columbia University, New York, NY: Orchestra of Greenwich House Music School

Publisher: Merrymount Music Press, 1949

Length: 10.5 minutes

Notes: Composed for Fritz Rikko's Greenwich House ensemble.

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Movement I. Folio, 4 pages. 2 pages autograph sketches.

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1 page autograph sketches.

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Movement III. Folio, 4 pages. 3 pages autograph sketches.

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Spiral bound copy of autograph score signed by the composer in New York with pencil additions and revisions.

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Suite for Violin, Piano, and Small Orchestra 1951

Physical Description: 1 page

Subseries Scope and Content Summary

In 1951, the wonderful Ajemian sisters, Anahid and Maro, commissioned my Suite for Violin, Piano, and Small Orchestra. It is an assembly from sketches and ideas that I was at that time most interested in. The choice of instruments in the orchestra reflects my wish to reveal and emphasize the sounds of the two soloists. The overture, aria, and chorale were worked from preliminary sketches that I made for a possible oratorio on a text by Charles Peguy. The two movements titled "Gamelan" reflect my long-time interest in the magnificent music of Indonesia. Interestingly enough, the mode used in the "first Gamelan" is derived from a mode charmingly used by Roy Harris in his Second String Quartet thus realizing a conjunction between the work of an older American composer and my own ravishment by Gamelan. The "second Gamelan" is a "tourist's - ear" impression of the Balinese Wayang Gender ensemble. The "Elegy" was inspired by the tiny, sometimes sad paintings of Paul Klee, but the contrasts between the mystic fields of France and the glamour and heat of Bali are the formal generating powers of the piece. Recordings of the work have been made under Leopold Stokowski and also Robert Hughes...the latter with Keith Jarrett and Lucy Holtzman.

Lou Harrison

Instrumentation: Solo violin, solo piano, chamber orchestra (2 flutes, oboe, harp, tack piano, celesta, tam-tam, 2 cellos, 2 contrabass)

Movements: (1) Overture: Allegro poco maestoso (2) Elegy: Adagio (3) First Gamelan: Allegro (4) Aria: Lento espressivo (5) Second Gamelan: Allegro moderato (6) Chorale: Andante moderato

Date: 1951

Premiere: January 11, 1952, Carnegie Hall, New York, NY: Maro and Anahid Ajemian; Lou Harrison, conductor

Publisher: Associated Music Publishers, 1955; Peters 1985

Length: 18.5 minutes

Notes: Commissioned by Maro and Anahid Ajemian.

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1 page autograph sketches.

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Suite for Symphonic Strings 1960

Physical Description: pages

Subseries Scope and Content Summary

Instrumentation: String orchestra

Movements: (1) Estampie (2) Chorale: "Et in Arcadia Ego" (3) Double Fugue, "In Honor of Heracles" (4) Ductia: "In Honor of Eros" (5) Lament (6) Canonic Variations: "In Honor of Apollo" (7) Little Fugue: "Viola's Reward" (8) Round: "In Honor of Hermes" (9) Nocturne

Dates: Movements I, IV, VI: 1960; Movements II, III, V, VII, VIII, IX revisions or arrangements of previous works (see cross references).

Premiere: October 18, 1961: University of Louisville Symphony, Louisville, KY; Robert Whitney, conductor.

Publisher: Peters, 1961

Cross References: Movement II: revised version of Chorale for Spring (1951; new middle section added); Movement III: revised version of Double Fugue (1936); Movement V: revised version of Triphony (1945) and Trio (1946); Movement VII: orchestration of Fugue for David Tudor (1952); Movement VIII: taken from Almanac of the Seasons (1950); Movement IX: revised version of Nocturne, Movement I (1951).

Notes: BMI 20th annual commission; for Carl Haverlin, president, BMI.

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Movement I.

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Movement II: 1 page autograph score of Chorale for Spring, 1951

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1 page autograph sketches.

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4 pages autograph score, ca. 1960

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6 pages autograph parts, ca. 1960

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Movement III: Folio, 12 pages. 9 pages autograph score of Double Fugue, 1936, with revisions and orchestrations, ca. 1960

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Movement IV: 7 pages autograph score. 8 pages autograph parts. 8 pages, blueprint copy of autograph with autograph notes and tuning schema. Folio, 6 pages. Autograph sketches.

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Movement V: 5 pages autograph sketches on 8 pages. 1 page autograph score, end of movement.

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Movement VI: Folio, 18 pages. 10 pages autograph sketches.

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Movement VII: Folio. 10 pages. 8 pages autograph sketches and related material.

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Movement VIII:

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Movement IX: Folio, 4 pages. 3 pages autograph score of Nocturne for Victor Sprague. 2 Movements scored for tack-piano and harp. Movement I orchestrated for Suite for Symphonic Strings.

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Folio, 4 pages. 1 page score of Nocturne. 3 pages unrelated material.

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6 pages, partial parts, title page, autograph.

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Additional materials

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Folio, 16 pages. 12 pages autograph sketches for various movements.

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Folio, 16 pages. 13 pages autograph sketches. Unidentified but relating to Suite for Symphonic Strings.

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Suite for Toy Piano (John Cage, Suite for Toy Piano: orchestrated by Harrison in 1963) 1963

Physical Description: 1 score

Subseries Scope and Content Summary

Score is copy of autograph by John Cage with orchestration notes in pencil by Lou Harrison.

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Original published score, Henmar Press Inc. 1960

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At the Tomb of Charles Ives 1963

Physical Description: 8 pages

Subseries Scope and Content Summary

Instrumentation: Trombone, 2 psalteries, 2 dulcimers, 3 harp, tam-tam, 5 violins, voila, cello, contrabass.

Date: November 20, 1963

Premiere: July 23, 1970, Aspen Music Festival, Aspen, CO

Publisher: Xenharmonikon 1 #2 (Fall 1974); Peer 1978

Length: 4 minutes

Recordings: LP: Gramavision GR-7006, Brooklyn Philharmonic, L. Foss, conductor

Cross Reference: See Ser. 2 Notebooks: Notebook #24

Notes: Parts in "Free Style": tuning tape available from publisher. John Cage, Suite for Toy Piano: orchestrated by Harrison in 1963

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7 pages blueprint copy of autograph score.

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1 page blueprint copy of performance notes.

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Charles Ives, Christmas Music 1977

Physical Description: pages

Subseries Scope and Content Summary

Notes: Arranged for chorus/orchestra by Lou Harrison 1977.

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Movement I, Adeste Fidelis. Folio, 14 pages. 7 pages autograph score.

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2 pages photocopy of published Ives score with autograph orchestration notes in pencil by Harrison.

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Movement II, December. 2 pages autograph score.

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Movement III, A Christmas Carol. Folio, 6 pages autograph score.

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Elegy, to the Memory of Calvin Simmons 1982

Physical Description: 4 pages

Subseries Scope and Content Summary

Calvin Simmons was the brilliant young conductor of the Oakland Symphony. In 1982 he died in a boating accident and I wrote this elegy as a tribute to him. Two days after its completion it was premiered at the Cabrillo Music Festival in Aptos CA , a two week summer festival highlighting contemporary music.

Lou Harrison

Instrumentation: Oboe, celesta, vibraphone, harp, horn, gong, violin, viola, 2 cellos, contrabass

Date: August 22-24, 1982

Premiere: August 26, 1982: Cabrillo Music Festival, Aptos, CA

Publisher: Frog Peak

Length: 2.5 minutes

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Folio, 4 pages. 2 pages autograph score.

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Piano Concerto with Selected Orchestra 1983

Physical Description: 89 pages

Subseries Scope and Content Summary

My Piano Concerto with Selected Orchestra is so called for the reason that it is composed in my favorite keyboard temperament -- Kirnberger's #2, and this meant that I wanted only to use such orchestral instruments as could correctly play the tones of this tuning. Thus I had to forgo the woodwinds and the valved brass. To my pleasure it turns out that the three slide trombones used, because of the majesty of their tones actually give a rich, full-orchestra sound to the ensemble, and indeed the reduced orchestra has made the piece accessible to community orchestras, at least to those which can gather a few extra percussion players. I composed the piece for Keith Jarrett and Dennis Russell Davies (who introduced the two of us) and who first introduced the work in Carnegie with the American composer's orchestra. The "well temperament" heard has on the white keys an almost perfect C major in just intonation (only the tone "a" is very slightly high) and then a whole lovely opalescence of intervals as one reaches out to more remote keys. I have exploited this range of tones in many ways throughout the piece. I am happy, too, that tuners, who nowadays are mostly condemned to watching electronic cues for tuning equal temperament, are even gathering pictures and comment in newspapers for tuning something more interesting. In the second movement I have made use of an "octave-bar" which will produce all of the tones of a full octave at once, while slightly emphasizing the octave interval. I have left the two-octave clusters to the forearm, as did Henry Cowell. In my second concerto for piano the keyboard is tuned to the tones of a full Javanese gamelan , both slendro and pelog sections . I doubt that I will write a piano concerto in equal temperament -- I'm not that fond of it. Keith Jarrett has recorded live this first concerto with Naoto Otomo and the new Japan Philharmonic.

Lou Harrison

Instrumentation: Piano, orchestra (3 trombones, percussion, harp, strings)

Movements: (1) Allegro (2) Stampede: allegro (3) Largo (4) Allegro moderato

Date: Begun May 1983; completed July-August 1985 (Movement I: July 29; Movement II: July 13; Movement III: August 5; Movement IV: August 9)

Premiere: October 20, 1985, Carnegie Hall, New York, NY: Keith Jarrett, American Composers Orchestra, Dennis Russell Davies, conductor

Publisher: Peters, 1985

Length: 29.5 minutes

Cross References: Movement II: heavily revised version of Faust , Movement VIII (1985)

Notes: For Keith Jarrett. Commissioned by Betty Freeman. Piano in Kirnberger's #2 tuning.

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1 page autograph tuning ratios for Kirnberger #2

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Movement I, Allegro: 34 pages autograph score, ink.

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Movement II, Stamped: 39 pages autograph score, ink.

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Movement III, Largo: 6 pages autograph score, ink.

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Movement IV, Allegro moderato: 9 pages autograph score, ink.

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4 pages autograph sketches.

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A Parade for MTT (A Parade for Michael Tilson Thomas) 1995

Physical Description: pages

Subseries Scope and Content Summary

When Michael Tilson Thomas asked me to make a "fanfare" for him to open his season, he actually meant a kind of opener or festive beginning for his "reign" -- "Use anything you want" he said, "a boys choir, a gamelan, whatever, and of course, the San Francisco Symphony". Such largesse of means was a bit intimidating, but I finally summoned courage and committed a little tune. It did not want to be a fanfare but rather a parade march such as I had heard in my youth in San Francisco, splendidly stepping along with a "bell-lyra" group.

I somehow remember Chinese women playing the hip-borne bell-lyras long ago. This in turn led to a more singing passage and then my early hearing of Japanese Gagaku in San Francisco emerged. In short, I could see that my San Francisco memories were passing as a parade and so I celebrated that for Michael's arrival. I found that I needed my great oxygen-tank bells, my three "ranch triangles" a sweet bell-tree (gentorak), the very large Javanese gong that I myself built for Mills College and for which the artist Mark Bullwinkle provided the flange, and, of course, my accustomed "octave-cluster-bars" for the piano and celesta to make brilliance with. I hope that the timpanist will forgive me, but I can't really like the modern tympani, otherwise I think that I've written for the orchestra in a straight-forward way. I am grateful to the San Francisco Symphony for commissioning me and rejoice that it has had the wisdom to establish M.T.T. (Michael Tilson Thomas) in his wonderful brilliance, as music director.

Lou Harrison

Instrumentation: Orchestra (4-4-4-4; 4-4-4-1; 4 or 5 percussion-celesta-piano-organ-harp; strings)

Premiere: September 6, 1995, Davies Hall, San Francisco, CA: San Francisco Symphony, Michael Tilson Thomas, conductor

Date: June 1, 1995

Publisher: Peer, 1995

Length: 6 minutes

Cross References: See also Ser.2 Notebooks: Notebook #26

Notes: Commissioned by the San Francisco Symphony.

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1 page copy of autograph title page.

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28 pages copy of autograph score with slight pencil additions by composer.

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12 pages copy of additional organ part.

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Ives Transcriptions undated

Physical Description: 20 pages

Subseries Scope and Content Summary

Notes: Transcriptions from Charles Ives manuscripts made for Milton Feist.

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Psalm XXV. Folio, 16 pages. 14 pages autograph score.

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Psalm 100. Folio, 4 pages autograph score.

box 8-11

3. Vocal 1939-1992

Physical Description: 21 titles

Series Scope and Content Summary

This series includes pieces written for voice and are listed by Choral (chorus or choir) and Solo Voice with a large variety of instrumental accompaniment.

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Mass to St. Anthony 1939-52

Physical Description: 3 folders

Subseries Scope and Content Summary

Instrumentation: Chorus, trumpet, harp, string (original version; Chorus and percussion begun 1939 completed 2001)

Movements: Kyrie, Gloria, Credo, Sanctus, Agnus Dei

Dates: Begun September 1, 1939; completed March 12, 1952 (percussion for Kyrie and Gloria and all vocal parts completed 1939)

Premiere: January 24, 1954, Carl Fischer Hall, New York, N.Y.: Collegium Musicum and Cantata Singers, Fritz Rikko, conductor

Text: Catholic mass ordinary

Publisher: Peer, 1962 and 1974

Length: 25.5 minutes

Notes: Fromm Music Foundation Award, 1955

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Original composer's notebook. Folio, 34 pages. 30 pages autograph score and sketches, 1939.

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Published score: Spiral bound, 35 pages, blueprint of autograph, ca. 1952.

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Revised Kyrie: 8 pages autograph score, November 11, 2000.

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Revised Gloria: 8 pages autograph score, January 6, 2001.

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3 pages sketches, ca. 2000

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Easter Cantata 1943

Physical Description: 23 pages

Subseries Scope and Content Summary

Instrumentation: Solo contralto, SATB chorus, 2 trumpets, 2 trombone, glock, chimes, harp, strings.

Movements: (1) Sinfonia: (2) Aubade, Chorale en Rondeau; (3) Mary's Song at the Tomb; (4) Narrative (5) Alleluia.

Date: Begun Summer-Fall 1943; completed 1966.

Premiere: April 3, 1966, Hartnell College: Vahé Aslanian, conductor

Text: Paraphrase of Luke 24

Publisher: Frog Peak

Notes: Commissioned by Hartnell College Student Body Association.

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23 pages autograph score, ink. 2 pages autograph title page and movements.

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Onward Christian Soldiers ca. 1945

Physical Description: 1 page

Subseries Scope and Content Summary

Instrumentation: Trumpet, organ, unison chorus

Date: ca. 1945

Premiere: United Methodist Church, Bronx, New York, N.Y., ca. 1945

Text: Protestant hymn

Publisher: Unpublished manuscript

Notes: For Edward McGowan, minister, United Methodist Church, New York, N.Y.

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1 page autograph score.

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Strict Songs 1950

Physical Description: 4 folios, 58 pages

Subseries Scope and Content Summary

Instrumentation: (a) 8 bar (in 2-3 parts), chamber orchestra (2 trombones, pianp, harp, percussion, strings); male chorus approved by composer; (b) bar solo, SATB [Soprano, Alto, Tenor, Bass] chorus, chamber orchestra (1992)

Movements: Four untitled movements. Text beginnings: (1) Here is Holiness; (2) Here is Nourishment; (3) Here is Tenderness; (4) Here is Splendor.

Dates: Movement I begun 1951, completed 1955; Movement II: July 13, 1955; Movement III, undated (1955); Movement IV: June 1,1955

Premiere: Version (a) January 18, 1956, University of Louisville Orchestra, Lousiville, KY, Robert Whitney, conductor; version (b) November 20, 1992, University of California, Santa Cruz, CA

Publisher: Association of Music Publishers, 1956

Text: Joys and Perplexities: Selected Poems of Lou Harrison; Lou Harrison (Winston-Salem: Jargon Society, 1992), 34-35

Length: 19 minutes

Notes: Commissioned by University of Louisville Orchestra. Movement I: revision of "Gloria" from an unfinished mass (1951 - March 18,1954). Movement III dedicated to composer's father. Choreography by Mark Morris, 1987

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(1): Folio, 18 pages autograph score, sketches (manuscript originally for an unfinished "Gloria").

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(2): Folio, 4 pages, 3 pages autograph short-score with tuning schema. Three Folio's 4 pages each. 11 pages autograph sketches with some unrelated material.

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(3): Folio, 12 pages. 8 pages autograph short-score. Folio, 4 pages autograph sketches. 1 page sketches. Folio, 12 pages. 3 pages autograph tuning schema and bar sketches.

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(4): Folio, 4 pages autograph short-score. Folio, 6 pages. 4 pages autograph sketches.

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18 pages autograph and photocopy score for version (b) vocal parts.

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6 pages with 3 pages sketches.

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1 page, photocopy sketches.

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Included in materials is a complete but rejected autograph short-score for Movement II. Folio 12 pages. 8 pages autograph score and sketches.

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21 pages, complete autograph score.

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Peace Pieces 1953-68

Physical Description: 3 folders

Subseries Scope and Content Summary

This subseries includes 3 pieces written for peace.

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Peace Piece 1: Invocation for the Health of all Beings 1968

Physical Description: 18 pages

Subseries Scope and Content Summary

Instrumentation: Unison chorus, chamber orchestra (trombone, 3 percussion, 2 harps, reed organ, strings)

Date: March 14, 1968

Premiere: April 7, 1968, First Unitarian Church, Berkeley, CA.

Text: Buddhist Metta Sutta

Publisher: Soundings Press (July-October 1972); A Lou Harrison Reader, ed. Peter Garland (Santa Fe: Soundings Press, 1987)

Length: 6 minutes

Notes: To the memory of Martin Luther King.

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17 pages autograph score including title page with notes.

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1 page autograph sketches

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Peace Piece 2: Passages 25 ca. 1968

Physical Description: 10 pages

Subseries Scope and Content Summary

Instrumentation: Tenor, chamber orchestra (3 percussion, 2 harp, strings)

Dates: March 31, 1968

Premiere: April 7, 1968, First Unitarian Church, Berkeley, CA.

Text: Robert Duncan, Passages 25

Publisher: Soundings 3-4 (July-Oct 1972)

Length: 6.5 minutes

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9 pages autograph score including title page with notes.

Box 8:5

1 page autograph part for strings.

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Peace Piece 3: Little Song on the Atom Bomb 1953

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: Voice (alto or bartione), 2 violins, viola, harp

Dates: 1953, revised 1968

Premiere: August 17, 1968, Cabrillo Music Festival, Aptos, CA.

Text: Lou Harrison

Publisher: Soundings 3-4 (July-October 1972)

Length: 2 minutes

Notes: See also notebooks

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2 pages autograph score

Box 8:5

2 pages autograph parts for viola, harp

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Nak Yang Chun - Spring in Nak Yang [Joint composition with Lee Hye-Ku] 1961

Physical Description: 48 pages

Subseries Scope and Content Summary

Instrumentation: Chorus, 3 flutes, 3 trombones, celesta, harp, piano, 2 percussion, strings

Dates: Late 1961

Text: Translation in Joys and Perplexities: Selected Poems of Lou Harrison; Lou Harrison (Winston-Salem: Jargon Society, 1992), 99

Publisher: Unpublished manuscript

Notes: Original Korean work from 960-1279 A.D.; Korean orchestra version survives from notation from the 18th century and later but original choral parts lost. Restoration of choral parts by Harrison and Lee Hye-Ku and arranged for orchestra of western instruments.

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10 pages autograph score, arranged for European instruments.

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8 pages, additional autograph score, arranged for European instruments (in different hand).

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13 pages autograph parts for chorus and European instruments.

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6 pages autograph parts for Asian instruments.

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1 page autograph score for " Melody", "Bells", and "Pak"

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2 pages autograph score for Korean Orchestra with notes.

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Folio, 8 pages, 2 pages sketches.

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Nova Odo 1961-68

Physical Description: 54 pages, 2 folios

Subseries Scope and Content Summary

Instrumentation: Male chorus, reciting chorus, orchestra (3-3-3-3; 4-3-3; piano, tack piano, celesta, organ, harp, percussion [includes pak]; strings), 7 p'iris [alternative: English horn, saxophones, clarinets]

Movements: (1) quar=ca.144; (2) Largo, cantabile, solenel (3) quar=132-144

Dates: Parts 1-2 completed 1961-63; part 3: August 10, 1968

Premiere: Parts 1-2: read-through by Seoul Philharmonic Orchestra, Soeul, Korea, 1962. Completed work: August 17,1968, Cabrillo Music Festival, Aptos, CA.: Gerhard Samuel, conductor

Text: Lou Harrison, English and Esperanto, Joys and Perplexities: Selected Poems of Lou Harrison; Lou Harrison (Winston-Salem: Jargon Society, 1992), 115-20

Publisher: Frog Peak

Length: 20.5 minutes

Notes: To Rockefeller Foundation For Composers' Workshop of the San Francisco Conservatory of Music, the San Francisco Symphony and Enrique Jorda.

The Prelude for P'iri and Reed Organ (1962) from this piece can be performed as an independent work.

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Movement I (Part 1): 16 pages autograph score.

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Movement II (Part 2): 21 pages autograph score.

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Movement III (Part 3): 17 pages blueprint of autograph score, 1 page autograph score.

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Folio, String bound music lined notebook, 64 pages with approximately 31 pages sketches and notes.

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Folio, 6 pages, 4 pages autograph sketches.

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Haiku 1967

Physical Description: 1 page

Subseries Scope and Content Summary

Instrumentation: Unison mixed chorus, shiao, harp, wind-chimes, gong

Dates: February 7 - March 14,1967

Text: Kay Davis

Publisher: Unpublished manuscript

Length: 37 measures

Notes: To William Erlendson.

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1 page autograph score.

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La Koro Sutro 1972

Physical Description: 12 pages

Subseries Scope and Content Summary

La Koro Sutro is the official title in Esperanto referring to the Heart Sutra, which is among the most used and popular basic texts of Buddhism. My Heart Sutra is a work which comes from many sources. I visited Korea, Taiwan and Japan in the early 60's because of an international conference about music. I was already enormously interested in Korean and Chinese music and had formed an admiration for Buddhism which has remained with me since.

Buddhism is not, properly speaking, a religion because it demands no faith in extraterrestrial or any other kind of power. It is a philosophy, a science of how to be happy if you want to be. Although the formulas for happiness exist, both in Buddhism and Epicureanism, a surprising number of people still choose not to be happy, but to go on as usual. It is fascinating that this Buddhist philosophical writing seems to be about contemporary with the same intellectual impulse in the Byzantine world. The famous mantram "Hail, the Jewel is in the Lotus" is the final line of the Heart Sutra whose entire text can be printed on a postcard. It is a condensed version of another work, the "Divine Wisdom" or "Hagia Sophia", which consists of over 100,000 lines.

I began this work in 1972 in response to a request from Cathy Schulze that I help organize a concert at San Francisco State University for such people as wanted to visit the city after the world Esperanto Conference in Portland. When composing the Heart Sutra I knew that it deserved a language of wide potential understanding. Western religion and governments have (until recently) used the archaic and formal Latin language. Rather than using a holy language, Buddhism has always expressed itself in the vernacular - so I decided to use Esperanto. My friend, Bruce Kennedy, was a master of various Languages (I found out recently that he also knew sign language!), so I asked him to translate the text of the Heart Sutra in to Esperanto so that I might use it in composing. He achieved this beautifully by comparing several different language versions including "Pali".

The first concert of the Sutra was very well received and has since had a great number of performances. La Koro Sutro was performed in Sapporo, Japan. The week before our concert there had been a monumental earthquake during which one island was totally destroyed and many people died. It was a shocking and terrible circumstance. Since we were preparing the Heart Sutra, and Japan is in many senses a Buddhist country, I asked a friend to translate into Japanese a brief paragraph in which we dedicated the performance to the memory of those who died and to their survivors.

For this work, my friend and partner, William Colvig, created many instruments. The small tube and slab gamelan, which is used with other percussion instruments, has become know as "Old Granddad" Gamelan for it is the first of the Western American Gamelan to employ aluminum tubes and slabs (handsomely resonated with #10 Billy cans collected from back doors of restaurants), which have since been used in the building of many Gamelan. Bill and I tuned the Gamelan to a perfect Northwest Asian (European) natural scale; that is to say, much like a C Major would be if you sang it or played it on string instruments, although the gamelan is actually in D major. It is a joy to sing with because the orchestra tuning is the same as you would use with your voice. Towards the end, (in the next to the last movement), I needed another key system to contrast the basic scales that I had been using. I didn't have the heart to ask Bill to create a new set of instruments so I threw in a harp! This has proven to be a good choice because it works well with the other instruments and provides a pleasant contrast.

Lou Harrison

Instrumentation: (a) SATB chorus, small organ, harp, American Gamelan; (b) arranged for chorus and orchestra (piano, celesta, 2 harps, 3 percussion, strings) by Kerry Lewis.

Movements: (1) Kunsonoro Kaj Gloro (2)-(8) Paragrafo 1-7 (9) Mantro Kaj Kunsonoro.

Date: July 29, 1972; arranged for string orchestra, ca. 1977

Premiere: August 11, 1972, San Francisco State University, Donald Cobb, conductor.

Text: Esperanto translation of Buddhist Heart Sutra by Bruce Kennedy

Publisher: Peer

Length: 29 minutes

Cross Reference: For Vahé Aslanian.

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Fragments

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Movement I, Kunsonoro Kaj Gloro: 1 page autograph partial sketches for gender and lali.

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2a Paragrafo: 2 pages autograph partial part for gender.

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4a Paragrafo: 5 pages autograph score.

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7th Paragrafo: 1 page autograph sketches for chorus.

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1 page copy of autograph harp part with pencil sketch for new ending.

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2 fragments with new harp ending for 7th Paragrafo with note to Margaret Fisher.

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Mass to St. Cecilia (Mass for St. Cecilia's Day) 1983

Physical Description: 23 pages

Subseries Scope and Content Summary

Lou Harrison

Instrumentation: unisex chorus; optional drone and/or figuration on organ, harp

Movements: (1) Introitus; (2) Kyrie; (3) Gloria; (4) Graduale; (5) Alleluia; (6) Offertory; (7) Sanctus; (8) Agnus Dei; (9) Communion; (10) Hymn; (11) Ite Missa Est

Date: Kyrie: October 25, 1983; complete mass, 1986

Premiere: Introitus, Gloria, Hymn: November 15, 1987, California State Sacramento, CA: Completed mass: November 18, 1988, Santa Cruz Chamber Players, Santa Cruz, CA

Text: Catholic mass ordinary and the proper for the Feast of St. Cecilia (November 22).

Publisher: Frog Peak

Length: 22 minutes

Notes: Monoph mass in Gregorian chant style. For Saint Cecilia Society for the Preservation and Restoration of Gregorian Chant and the Peking Opera of Santa Cruz, CA.

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10 pages autograph score, title page, notes and decorations used to create a composer's limited edition serigraph with Chris Daubert.

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Movement I: Introitus: 2 pages photocopy of autograph sketches (from notebook) with Revisions in pencil. 1 page copy of final score with slight ink design additions.

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Movement II: Kyrie: 1 page photocopy of autograph first version (from notebook).

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Movement IV, Graduale: 1 page photocopy of autograph original sketches with slight revisions in pencil.

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Movement V, Alleluia: 2 pages photocopy of autograph original sketches with revisions in pencil and pen and pasteover.

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Movement VI, Offeratory: 1 page photocopy of autograph sketch with slight revisions markings in pencil.

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Movement VII, Sanctus: 2 pages photocopy of autograph original sketches with revisions in pencil and ink.

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Movement VIII, Agnus Dei: 1 page photocopy of original sketch with slight notes in pencil.

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Movement X and Movement XI, Hymn and Ite: 2 pages photocopy of autograph sketches with revisions in pencil.

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1 page autograph (William Colvig) percussion accompaniment.

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Faust 1985

Physical Description: 51 pages

Subseries Scope and Content Summary

Instrumentation: Soprano, tenor, bass soloists; chorus; chamber orchestra (4 flutes, trumpet, 4 percussions, piano, 2 harp, organ, strings), Sundanese gam degung

Movements: (1) Opening scene in heaven; (2) Fire spirit's chant; (3) Easter music; (4) Witch's Song; (5) Wine-Love Song; (6) Three dances for two harps; (7) Gretchen's Spinning Song; (8) Estampie ("Walpurgisnacht"); (9) Gamelan works: Lagu Pa Undang, Lagu Elang Yusuf; (1) Miscellaneous percussion interludes.

Dates: Movement I: March 12,1985; Movements II, III, IV, V, VII, IX: undated; Movement VI: March 19,1985

Premiere: May 9,1985, University of California, Santa Cruz, Santa Cruz, CA.

Text: Adaptation of Goethe's text by Kathy Foley

Publisher: Unpublished manuscript

Cross References: Movement VII adapted for The Clays' Quintet, Movement III (1987; same music with different instruments and no text). Movement VIII heavily revised and used in Piano Concerto, Movement II (1985)

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37 pages autograph score, without gamelan pieces.

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3 pages photocopy of Gretchen's Spinning Song with composer's revisions for inclusion to The Clay's Quintet.

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1 page photocopy of Three Dances for 2 Harps with revisions for inclusion in The Clay's Quintet.

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Folio, 6 pages autograph score of Gretchen's Spinning Song, not in composer's hand.

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Three songs for Male Chorus 1985

Physical Description: 43 pages

Subseries Scope and Content Summary

Instrumentation: Male chorus, chamber orchestra (piano, organ, strings, percussion)

Movements: (1) King David's Lament for Jonathan; (2) Oh You Whom I Often and Silently Come; (3) When I Heard at the Close of Day

Dates: (1) October 8, 1941, revised June 18, 1985; (2) 1949, revised June 1985; (3) June 1985

Premiere: September 28, 1985: Portland Gay Men's Chorus, Gilbert Seeley, conductor

Text: (1) II Samuel; (2) and (3) Walt Whitman, Leaves of Grass "Calamus")

Publisher: Peer, 1985

Length: 10 minutes

Cross References: Movement I: revised version of 1941 work of same name. Movement II: revised version of Fragment from Calamus (1946)

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Movement I: Folio, 4 pages. 3 pages autograph score, King David's Lament, 1941. Folio, 4 pages autograph score and sketches, Lycida's Lament (Milton). Folio, 6 pages, 3 pages autograph score, 1 page sketches.

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7 pages autograph score (including title page), 1985.

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1 page autograph vocal part set in Hebrew by Larry Polansky.

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Movement II:

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Movement II: 4 pages autograph score, 1985.

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Movement II: 1 page autograph sketches.

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Movement III: 17 pages autograph score, 1985.

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Folio, 8 pages. 6 pages autograph sketches and notes.

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Homage to Pacifica 1991

Physical Description: 25 pages

Subseries Scope and Content Summary

Instrumentation: Javanese gamelan (slendro and pelog), bassoon, 1 percussion, harp, psaltery, chorus, solo voice, narrator

Movements: (1) Prelude; (2) In Honor of the Divine Mr. Handel; (3) In Honor of Mark Twain; (4) Interlude; (5) Ode; (6) Interlude; (7) Litany; (8) In Honor of Chief Seattle

Date: 1991

Premiere: October 4, 1991

Text: Movement III: Mark Twain, taken from Howard Zinn, A People's History of the United States. Movements V and VII: Joys and Perplexities: Selected Poems of Lou Harrison; Lou Harrison (Winston-Salem: Jargon Society, 1992), 60 and 63; Movement VIII: attributed to Chief Seattle (Chief Sealth)

Publisher: Frog Peak

Length: 37 minutes

Notes: Commissioned by Gerbode Foundation for inauguration of new building of the Pacifica Foundation. Two movements subsequently choreographed by Mark Morris in World Power (premiere: October 27, 1995)

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1 page autograph title and movements.

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1 page autograph psaltery patterns.

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Movement I, Prelude: 2 pages autograph score. Page 1, gamelan. Page 2, harp.

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Movement II, In Honor of the Divine Mr. Handel: 5 pages autograph score. Pages 1-2, gamelan. Pages 3-5, harp.

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Movement III, In Honor of Mark Twain: 4 pages autograph score. Pages 1-3, gamelan. Page 4, gamelan and chorus.

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Movement IV, Interlude: 2 pages autograph score.

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Movement V, Ode:

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Movement VI, Interlude: 1 page autograph score.

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Movement VII, Litany: 6 pages autograph and photocopy score (three times 2 pages of recitatives with meter and solo/choral designations).

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Movement VIII, In Honor of Chief Seattle: 3 pages autograph score. Pages 1-2, gamelan. Page 3, harp./

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Now Sleep the Mountains All 1992

Physical Description: 11 pages

Subseries Scope and Content Summary

Instrumentation: Chorus, percussion, 2 pianos

Date: February - March 1992

Premiere: April 6, 1992, San Jose State University, San Jose, CA.: Charlene Archibeque, director

Text: Fragment 89 from Alkman, translation Andrew Bowman

Publisher: Unpublished

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10 pages autograph score.

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1 page autograph sketch.

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White Ashes - Gobunsho 1992

Physical Description: 1 page

Subseries Scope and Content Summary

Instrumentation: Chorus, keyboard

Date: March 1992

Text: Buddhist hymn by Rennyo Shonin

Publisher: Shin Buddhist Service Book (Buddhist Churches of America, 1994)

Length: 1.5 minutes

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1 page autograph score.

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Pied Beauty 1940

Physical Description: 5 pages

Subseries Scope and Content Summary

Instrumentation: Baritone, cello, 1 percussion

Date: October 28, 1940

Premiere: October 6, 1963, Old Spaghetti Factory, San Francisco, CA: Robert Hughes et al

Text: Gerard Manley Hopkins

Publisher: Frog Peak

Length: 2.5 minutes

Notes: For William Brown (later Weaver). See Ser. 2 Notebooks: Notebook #213

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4 pages autograph score.

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1 page autograph part for flute.

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Sanctus 1940

Physical Description: pages

Subseries Scope and Content Summary

Instrumentation: Contralto, piano

Date: 1940

Premiere: November 14, 1940, San Francisco, CA., Museum of Art: Radiana Pazmor

Text: Catholic mass ordinary

Publisher: Frog Peak

Length: 5.5 minutes

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Folio, 8 pages. 7 pages autograph score including title page.

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May Rain 1941

Physical Description: 5 pages

Subseries Scope and Content Summary

May Rain was written for my friend William Weaver to sing. The beautiful poem is one from a sequence titled From Alba Hill by the wonderful Elsa Gidlow. It first appeared in the very early thirties and currently is printed in her Sapphic Songs Seventeen to Seventy (Diana Press, 1976). The music was printed in the first issue of Peter Garland's Soundings.

Lou Harrison

Instrumentation: Baritone, piano, percussion

Date: October 30, 1941

Premiere: February 17, 1963, Sticky Wicket, Aptos, CA.

Text: Elsa Gidlow, From Alba Hill #3

Publisher: Lou Harrison Reader; Soundings Press 1 (January 1972)

Length: 3 minutes

Notes: For William Weaver.

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Folio, 4 pages. 3 pages autograph score including title page, 1941

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1 page autograph score in from later date, ca. 1963

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Fragment from Calamus 1946

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: Baritone, piano (originally baritone, string quartet)

Date: 1946

Text: Walt Whitman, Calamus #43

Publisher: Bomart 1950; A Lou Harrison Reader, Peter Garland, ed. (Santa Fe: Soundings Press, 1987).

Length: 1 minute

Cross References: Revised and orchestrated for Three Songs for Male Chorus, Movement II (1985)

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Folio, 4 pages. 3 pages autograph score including title page.

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Alma Redemptoris Mater 1949-51

Physical Description: 3 pages

Subseries Scope and Content Summary

Instrumentation: Baritone, violin, trombone, tack piano

Dates: Begun 1949; completed 1951, Black Mountain College, NC.

Premiere: May 20, 1962, Nepenthe, Big Sur, CA.

Text: Catholic liturgy

Publisher: Peer, 1962

Length: 1.5 minutes

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3 pages copy of autograph score, with sparse composer's notes.

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Holly and Ivy 1951-62

Physical Description: 11 pages

Subseries Scope and Content Summary

My song Holly and Ivy which is actually a Christmas carol, was composed on a text given to me at Reed College in 1948 or 1949. Unfortunately, I lost the original paper and have asked several poets who were at Reed College whether any one of them gave me the text. So far no one has said "yes". A composer is in danger who uses a poet's text without permission so I hope that someday the author will come forward to be recognized and I also hope that he will forgive me!

Lou Harrison

Instrumentation: Tenor, harp, 2 violins, cello, contrabass (or choral tenors and mezzo-sopranos, harp, string orchestra)

Dates: Begun 1951; completed 1962

Premiere: February 17, 1963: Sticky Wicket, Aptos, CA.

Publisher: Frog Peak

Length: 2 minutes

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6 pages autograph score, ca. 1962

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Folio, 4 pages. 2 pages autograph partial score/study, ca. 1951

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1 page sketches, ca. 1951

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Vestiunt Silve 1951-94

Physical Description: 17 pages

Subseries Scope and Content Summary

Instrumentation: Mezzo soprano, flute, 2 violas, harp

Dates: Begun April 4, 1951, completed July 4, 1994

Premiere: August 18, 1994, Dartington International Summer School and Festival, Dartington Hall, Totnes, Devon, England

Text: "A Summer Song of Birds": Goliardic song from the Cambridge Songs Manuscripts, ca. 1050. See The Cambridge Songs, editor, Karl Breul (Cambridge University Press, 1915); for a translation see The Goliard Poets, translation George F Whicher, 1949.

Publisher: Music in the United States of America (MUSA), v.8 (Madison: A-R Editions, 1998)

Length: 4 minutes

Notes: For Wilfrid Mellers's 80th birthday.

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6 pages autograph score. ca. 1994

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Folio, 6 pages. 3 pages autograph sketches ca. 1994

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Folio 4 pages. 1 page autograph sketches ca. 1994

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1 page autograph sketches ca. 1951

box 10

Political Primer [incomplete] 1951-59

Physical Description: 225 pages

Subseries Scope and Content Summary

Instrumentation: Overtures: orch; recitatives (baritone), occasional percussion

Movements: Movements completed: 3 overtures (monarchy, republic, democracy) later used in Third Symphony and Elegiac Symphony; 4 recitativess (Movement I: Dedication; Movement V: First Comment, with two timely remarks; Movement IX: Second comment; and Movement XIII: Last comment with remark and salutation).

Dates: Begun 1951; overtures and recitatives completed 1958.

Premiere: Recitatives only: May 23/24, 1959, University of Buffalo, N.Y., Herbert Beattie, baritone.

Text: Lou Harrison (alternative texts in English and Esperanto), Frog Peak Anthology (Hanover, N.H.: Frog Peak Music, 1992), 77-83.

Publisher: Unpublished manuscript of recitatives and overture 1; remainder: sketches only.

Cross References: Overtures later revised for use as Elegiac Symphony, Movement I (1975) and Third Symphony, Movements I and IV (1982).

Notes: Choruses never completed. Recitatives in "Free Style".

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Text

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#1: Text in Esperanto. " First Proof": 21 pages typed manuscript with autograph notes and revisions in Esperanto by author/composer in blue ink. Additional notes and comments by G. Alan Conner, General Secretary of the Esperanto Society of North America, in red ink and pencil.

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#2: "Revised May 12, 1958": 21 pages typed manuscript with introductory letter from author/composer to G. Alan Conner. Additional comments and notes in red ink by Conner.

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#3: Text in English. 24 pages autograph manuscript in ink. 3 pages autograph manuscript from earlier version.

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#4: 20 pages blue-print of autograph manuscript with pencil and ink revisions.

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#5: 1 page typed introduction, 1990.

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1 page photo copy of autograph tuning schema and section numbers.

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7 pages typed manuscript (final version)

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#6: Section I, Dedication: Folio, 4 pages. 3 pages autograph score, pencil.

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1 page autograph score, ink.

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#7: Section II, Overture: Folio, 4 pages. 3 pages autograph sketches, pencil.

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1 pages autograph title page, ink. 27 pages autograph full score, ink.

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34 pages autograph parts, ink, for: Trombones I, II, Celesta, Harp, Piano, Tack piano. I, II, Percussion, Violins I-IV, Viola, Cello I-III, Contrabass.

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#8: Section V, First Comment with Two Timely Remarks: Five Folio's, 20 pages, 14 pages autograph score, pencil. 16 pages autograph score, ink.

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#9: Section IX, Second Comment: Folio, 4 pages. 3 pages autograph score, pencil. 2 pages autograph score, ink./

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#10: Section XIII, Last Comment, with Remark; Salutation.

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Folio, 4 pages. 3 pages autograph score pencil. 2 pages autograph score, ink.

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1 page autograph sketches with sketches for "1a Ario" on reverse.

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Additional Materials

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#11: 3 pages, photo copy of letter to Mr. Beattie with tuning explanations for recitatives.

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#12: 2 pages autograph score of Section XI, Overture, ink.

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#13: Blueprint copies of parts for Section II, Overture.

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#14: Blueprint copy of Section II, Overture, with autograph markings in composer's hand. Composer also indicates that this work is absorbed into the Elegiac Symphony Movement V, which is incorrect. It is absorbed in to the Third Symphony Movement IV.

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Autograph sketches in 13 portfolio's comprising 112 pages. Folio's are numbered consecutively. Harrison drew from these materials which became absorbed in other works. Primarily the Elegiac Symphony and the Third Symphony. Where possible identifications are indicated. Other sketch materials not identified at this time.

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Folio #1, 12 pages. 9 pages autograph sketches. Various pages identified as Third Symphony, Movement IV and Elegiac Symphony, Movement I.

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Folio #2, 6 pages autograph sketches. Various pages identified as Third Symphony, Movement IV and Elegiac Symphony, Movement I.

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Folio #3, 12 pages. 9 pages autograph sketches from Section 10 of the Political Primer, Overture.

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Folio #4, 14 page autograph sketches currently unidentified.

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Folio #5, 16 pages. 13 pages autograph sketches including fragments of Aria's and comments.

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Folio #6, 12 pages. 11 pages autograph sketches. Various pages identified as Third Symphony, Movement IV.

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Folio #7, 10 pages. 9 pages autograph sketches. Various pages identified as Elegiac Symphony, Movement I.

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Folio #8, 4 pages autograph sketches. 1 page identified as Third Symphony, Movement IV. 1 page identified as from Cinna.

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Folio #9, 6 pages autograph sketches. Partially identified as Third Symphony, Movement IV.

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Folio #10, 4 pages autograph sketches. Partially identified as Third Symphony, Movement IV.

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Folio #11, 6 pages autograph sketches. Fragments of Aria's and 1 page identified as Elegiac Symphony, Movement I.

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Folio #12, 4 pages autograph sketches. Composer's hand partially identifies Third Symphony, Movement I.

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Folio #13, 6 pages. 4 pages autograph sketches partially identified as Third Symphony, Movement I.

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Orpheus - for the Singer to the Dance 1969

Physical Description: pages

Subseries Scope and Content Summary

The work is based on the theme from the Greek myth of Orpheus however; it is dances in the contemporary time and in abstract style.

Synopsis: The story begins with a praise to Orpheus who represents love and music and praise to Orpheus and his wife, Eurydice. Orpheus and Eurydice represent perfect love. Eurydice is then killed by a snake and Orpheus is left alone. Orpheus goes to Hell to get Eurydice and with his beautiful music from his lyre, he convinces the devils to let him take Eurydice back. The grant is given provided he does not and look at Eurydice as she follows him out. However, the devils trick him and when he turns back Eurydice disappears. Orpheus, knowing he has lost Eurydice for good, prays to the father for help, transforms himself into a bird and flies away. In his search for Eurydice, the women of the town condemn and kill him for losing Eurydice. Orpheus is reborn and begins life anew. He no longer remembers his wife and seeks to find a new love. His new love is a young Greek boy. The two lovers join the group of dancers, who appear as both sexes. His new love also disappears, as Eurydice had before and Orpheus is, again, left alone to take his place among the group of dancers.

In 1941 I began a large composition called Labyrinth for percussion orchestra which was intended to be orchestral, not just a large group of soloists, but with doublings and couplings which mean orchestra rather than chamber ensembles. At about the halfway point I moved from San Francisco, and, as life goes, I forget about the work, though somewhere along the line I sent the completed portions to the Philadelphia Free Library. It was well received in New York during the fifties when Paul Price played it. Gerhard Samuel played it in 1967 at the Cabrillo Music Festival, and by this time I had already found the poet Robert Duncan's beautiful Set of Romantic Hymns orphic in nature, and realized that a whole work would result from his verse and my unfinished composition.

Orpheus understood in several possible old and new ways is the subject, so highly meaningful to any musician, and a "sung ballet" is the result. The sustained two-year labor of achieving this new piece was in large part supported by the Phoebe Ketchum Thorne Music Fellowship, and the work is dedicated to Francis Thorne, friend and fellow composer, among whose bright ideas is the award itself, the highest award granted to a composer in the United States.

Lou Harrison

Instrumentation: Ten solo, SATB chorus, 15 percussion

Movements: (1) Sweet tone, vibrant wing (2) Ode (3) Passage thru dreams (4) Fountain of forms (5) Seed (6) The lyre's ablaze (7) In praise of Orpheus (8) Image in the soil.

Date: Completed 1969, revised 1996

Premiere: May 22, 1969, San Jose State University Percussion Ensemble, San Jose, CA; Anthony Cirone, director; Robert Buchanan, tenor

Text: Robert Duncan, A Set of Romantic Hymns

Publisher: Unpublished

Length: 38 minutes

Cross References: Expansion of Labyrinth #3 (1941). Movement II is a revised version of Labyrinth, Movement I; Movement III is virtually identical to Labyrinth, Movement II; Movement V is a revised version of Labyrinth, Movement III; Movement VIII loosely based on Labyrinth, Movement IV.

Note: To Francis Thorne.

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Movement I, Sweet Tone Vibrant Wing: 10 pages autograph score, ink (1-10)

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Movement II, Ode: 16 pages autograph score (11 - 26)

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Movement III, Passage Thru Dreams: 6 pages autograph score (27 - 32)

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Movement IV, Fountain of Forms: 8 pages autograph score (33-40)

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Movement V, Seed: 21 pages autograph score (41 - 61)

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Movement VI, The Lyre's Ablaze: 4 pages autograph score (62-65)

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3 pages autograph score for voice, glockenspiel, piano, 2 bass drums.

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Movement VII, In Praise of Orpheus: 6 pages autograph score (66-70)

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1 page autograph score, different format.

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Movement VIII, Image in the Soil: 24 pages autograph score ( 71-94)

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23 pages photocopy of autograph with paste-over revisions (all photocopies), December 26 1996

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Folio, 14 page. 11 pages autograph sketches for choruses and solos.

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Folio, 8 pages. 7 pages various sketches including unrelated transcriptions: "Ming Idiom" and "Taryung".

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Folio, 6 pages. 5 pages autograph sketches.

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5 loose pages with 8 pages autograph sketches.

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One half page autograph sketches.

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2 pages autograph sketches for chorus.

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1 page autograph sketches for percussion.

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Additional materials: Complete blueprint copy of autograph score with slight performance markings in pencil. Blueprint copy of Movements VI, VII, VIII, with autograph revisions and additions in pencil.

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4. Western Instrument Ensemble 1934-1999

Physical Description: 29 titles

Series Scope and Content Summary

Western Instrument Ensemble works include pieces written for a variety of instrumental groupings. They are divided in this catalogue as 5 or more, 3-4, and 1-2 players.

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Binary Variations on "Oh Sinner Man" 1934-1977

Physical Description: 16 pages

Subseries Scope and Content Summary

Instrumentation: Renaissance instrument ensemble (soprano/alto/tenor recorders and crumhorns; harpsichord; sackbut; treble/bass viol; alto shawm; dulcian)

Dates: Begun 1934; completed January 10, 1977

Premiere: February 25, 1977, University of California, Santa Cruz, Santa Cruz, CA.: independent concert directed by Philip Collins

Publisher: Unpublished manuscript

Length: 6 minutes

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16 pages autograph score. 3 pages autograph sketches.

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String Quartet Set 1940-78

Physical Description: 56 pages

Subseries Scope and Content Summary

I was happy to receive a commission from Canada; Robert Aitkin's "New Music Concerts" of Toronto, along with the Canada Council. At one point in rehearsal of my String Quartet Set by the Orford Quartet who premiered the work in Toronto, I had to leave the room (broken up -- tears in the eyes and the whole bit) because I had not imagined that it could be played so beautifully. My friend the percussionist William Winant pointed out to me that the English stampede is cognate with the French estampie and really means a general "bru-ha-ha" and excitement. Fortunately it is a useful and interesting form to compose in and I have made a number of them. For years before my Variations, I had loved, and composed quintal counterpoint to, the beautiful Palestinian Song by Walter von der Vogelweide . My Variations are hard to play, because (contrary to popular belief) the Pythagorean intonation suitable is quite hard to produce on the violin family, which more easily plays the soft thirds of the "just diatonic".

Lou Harrison

Instrumentation: String quartet (string orchestra version in progress)

Movements: (1) Variations on the Song of Palestine by Walther von der Vogelweide (2) Plaint (3) Estampie (4) Rondeau (5) Usul

Dates: (1) Opening sketched in 1940s; completed January 24, 1978; (2) March 24, 1978; (3)-(5)

Premiere: April 28, 1979, University of Toronto, Toronto, Canada: Orford Quartet

Publisher: Peer, 1980

Length: 26.5 minutes

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Movement I, Variations on Song of Palestine: 7 pages autograph score.

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Movement II, Plaint: 5 pages autograph score.

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Movement III, Estampie: 12 pages autograph score. Folio, 4 pages. 2 pages autograph sketches/schema.

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Movement IV, Rondeau: 10 pages autograph score. Five 4 page folios comprising 9 pages autograph sketches/schema/short-score.

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Movement V, Usul: Five 4 page folios comprising 7 pages autograph sketches/schema/short-score.

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1 page tuning schema and sketch of title.

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1 page autograph tempi.

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Labrynth for oboe, percussion, piano 1940

Physical Description: 21 pages

Subseries Scope and Content Summary

Instrumentation: Oboe, percussion, piano

Date: 1940 San Francisco, CA

Publisher: Not authorized for performance.

Notes: Harrison reportedly showed the manuscript to Pierre Monteux in San Francisco who said, "If this was Paris...".

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21 pages copy of autograph score.

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Serenade for Three Recorders 1943

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: 3 recorders (S, A, T)

Movements: (1) Allegro moderato (2) Largo (3) Gigue and Rondeau

Date: December 25, 1943

Publisher: Laureate Music Press, 1997

Length: 7 minutes

Notes: For Henry and Sidney Cowell

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Folio, 4 pages. 2 pages autograph score for Serenade. 2 pages unidentified short score.

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Schoenbergiana 1944-62

Physical Description: 41 pages

Subseries Scope and Content Summary

Instrumentation: (a) String quartet; (b) 2 flute, oboe, clarinet, bassoon, horn (arranged Robert Hughes)

Movements: Version a: (1) Allegro (2) Siciliana (3) Theme and Variations; Version b: Movements I-II reversed

Dates: (a) Begun May 1944; completed November 17, 1944; (b) 1962

Premiere: Woodwind version: April 1, 1962, Sticky Wicket, Aptos, CA.: Robert Hughes and ensemble

Publisher: String version: unpublished manuscript. Woodwind version: Frog Peak

Notes: Sketches list title as Second String Quartet.

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Version (a)

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Movement I, Allegro: 1 page autograph row-chart for II String Quartet.

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2 pages autograph short score sketches.

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6 pages autograph score, incomplete.

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1 page autograph score through measure #19

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Movement II, Siciliana: 1 page autograph short-score and sketches.

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Movement III, Theme and Variations: Folio, 16 pages. 11 pages autograph score and sketches. 1 page fragment Opus 6c.

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Version (b)

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Movement I, Siciliana: 2 pages autograph score by Robert Hughes, ca. 1962

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Movement III, Theme and Variations: 12 pages autograph score by Robert Hughes.

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Trio (String Trio) 1946

Physical Description: 8 pages

Subseries Scope and Content Summary

My little Trio for violin, viola, and cello was first composed as a piano piece in which the cross-rhythms were very complicated. It occurred to me that the piece might sound well for strings, so I simplified the rhythms so that they might be more easily performed by cooperating musicians and changed very little else. I included aspects of it for much larger group in my Suite for Symphonic Strings. All three versions have been performed and recorded (except for the original keyboard one) and several years ago an entire afternoon was given over to studying and perfecting it and even a computer realization...all this at the wonderful large Musachino College of Music in Tokyo. The substance of the piece is of course secundal counterpoint, and the impulse was from studying the more rapturous side of Carl Ruggles. The time span of the evolution of this piece is from the mid-forties in New York to my settling in Aptos in the mid-fifties.

Lou Harrison

Instrumentation: Violin, viola, cello

Movements: Single movement

Premiere: January 26, 1947, New School for Social Research, New York, NY: New Music String Quartet

Date: 1946

Publisher: Peters, 1961

Length: 4.5 minutes

Recordings: LP and CD: New World 319 and 382-2: New Musical Consort

Cross References: Arrangment of Triphony (1945). Revised and used in Suite for Symphonic Strings, Movement V (1960).

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3 fold out pages, copy of autograph parts.

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Folio, 4 pages. 2 pages autograph part for violin.

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1 page autograph sketches/short score.

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Air in G minor 1947

Physical Description: 13 pages

Subseries Scope and Content Summary

This piece was originally written in New York City for the then-famous yacht designer Olin Stephens Jr. who had taken up the recorder. Its model is of course the tri-partite Elizabethan form with a variation for each part. I attempted for several years to make an accompaniment for it; homophonic, polyphonic, consonant, complex...and none of them worked. I finally found that a simple drone was suitable. The Air has also been played by massed violins (again with drones) but it is clear that the Air is best heard on horizontal flute with drone. This was a curious problem, and reminded me of a solo dance choreographed in the thirties by my friend Carol Beals. I made two different scores to it, and found that I at least was unable to either add or subtract from the work. She danced the work in solo silence from then on. My Air is, of course, basically a baroque work but with the drone reminds that the baroque turned up in different ways in different parts of the world and in different ages.

Lou Harrison

Instrumentation: Flute, drone

Dates: 1947; revised 1970

Publisher: Frog Peak

Length: 4.5 minutes

Cross References: Unused sketch material for this piece later incorporated into Suite for Cello and Piano (1995)

Notes: Originally for recorder; written for yacht designer, Olin Stevens. Composer originally approved violin or strings in place of flute, but now approved only flute.

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Folio, 4 pages. 2 pages autograph sketches/study, ca. 1947.

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Folio, 4 pages. 3 pages autograph score, sketches, notes, ca.1947.

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Folio, 4 pages. 1 page autograph partial score. 1 page unrelated autograph material.

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1 page autograph score with notes ca. 1970

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Suite for Cello and Harp 1949

Physical Description: 87 pages, 1 published score

Subseries Scope and Content Summary

This piece was composed for Seymour Barab for a concert in New York's Townhall. The third movement was originally composed for the 'cello alone but Seymour sensibly arranged it in its more usable form. The Air is an arrangement from the scherzo section of my Symphony on G and is in serial technique as is the entire Symphony. The Choral and Pastoral are both taken from a score that I composed at the request of a Time/Life staff member for use in a film about the Lascaux caves. Since the score was not used (recordings in those days made dubbing-in cheap) I have been able to mine the music in several instances. There is more left but the Choral and Pastoral are representative. I must add that the cave art authority, Douglas Mazonowicz, was alerted by Bob Hughes to the cave music in this suite and he then arranged a slide show to go with the whole suite of paintings from the caves. He even went so far as to take a fine recording of this work to Lascaux, played it in the caves and re-recorded it with the acoustics of the caves. What a destiny!

In 1995, the delightful choreographer and my long time friend, Remy Charlip, created a work Ludwig and Lou which used the Suite as well as Beethoven's Contra Dances...good company indeed!

Lou Harrison

Instrumentation: Cello, harp (arranged for string orchestra by Robert Hughes, 1997)

Movements: (1) Chorale; (2) Pastorale; (3) Interlude; (4) Aria; (5) Chorale reprise D Movement IV: completed 1947 (for Symphony on G), revised 1949 for use in Suite. Other movements completed 1949 (after July). Movement II revised July 1994.

Premiere: April 15, 1950, McMillin Townhall, Columbia University, New York, N.Y.: Seymour Barab, Lucille Lawrence

Publisher: Peer, 1954

Length: 11 minutes

Cross References: Movements I-II taken from sketches for a Time/Life film on Lascaux caves wall paintings which never materialized. Movement IV taken from short score for Symphony on G, Movement IIIc ( Song, 1947); revised and orchestrated in 1964 for completion of symphony.

Notes: Composed for Barab and Lawrence. Movement III originally for cello solo; arranged for cello/harp by Barab.

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Bound manuscript book, 38 pages. 13 pages autograph score with revisions.

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26 pages autograph score with notes and revisions, proof for publication.

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Folio, 8 pages. 4 pages, autograph short-score for chamber ensemble, of Movement II (Pastorale). 1 page sketches.

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Folio, 6 pages. 3 pages autograph sketches of Movement II (Pastorale).

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2 pages autograph sketches.

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Folio, 4 pages autograph cello part with revisions.

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Published score with composer notes on cover.

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5 pages photocopy of autograph Movement II, with revisions.

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Group on a Row the Same 1951

Physical Description: 87 pages

Subseries Scope and Content Summary

Instrumentation: (1) Keyboard; (2) vibraphone, trombone (3) voice, viola, piano(4); bassoon

Movements: 3 number movements: (1) Prelude; (2) Poco allegro; (3) Veritas Veritatum; unnumbered 4th movement; additional sketches (for cembalo).

Dates: Movements I-III: 1951; Movement IV: 1960s.

Publisher: Unpublished manuscript

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1 page, photocopy of row-chart (original in the collection of Michael Tilson Thomas).

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Movements I-III: Folio, 8 pages. 6 pages autograph score and sketches (numbered consecutively).

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Folio, 4 pages. Additional autograph sketches for cembalo.

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Serenade for Frank Wigglesworth 1952

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: Guitar (harp also approved by composer)

Dates: February 12, 1952

Publisher: Music for Harp (Salvi, 1978); Lou Harrison Guitar Book (D. Tanenbaum, ed. Columbia Music, 1994)

Length: 2 minutes

Notes: Written in a letter to Frank Wigglesworth.

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2 pages, photo-copy of original letter to Frank Wigglesworth with score.

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1 page autograph score with revisions, 1952

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1 page autograph score with performance and tuning notes and revisions.

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1 page autograph score with tuning schema.

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Praises for the Beauty of Hummingbirds 1952

Physical Description: 1 page

Subseries Scope and Content Summary

Instrumentation: flute, 2 violins, celesta, percussion

Premiere: 1966, Old Spaghetti Factory, San Francisco, CA

Date: April 5, 1952

Publisher: Peer, 1975

Length: 2 minutes

Notes: Title on printed score reads "Praise"; Harrison prefers "Praises"

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1 page autograph score (fragment).

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Simfony in Freestyle 1955

Physical Description: 8 pages

Subseries Scope and Content Summary

Instrumentation: Specially constructed plastic flutes in Just Intonation, viols with movable or independent frets, harps, tack piano, trombones

Dates: October 8, 1955

Premiere: Never performed as specified; digitally realized by David Doty, 1992

Publisher: Peters, 1977

Length: 4 minutes

Notes: For Henry Allen Moe and the Guggenheim Foundation.

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Folio, 6 pages. 4 pages autograph short-score. 1 page sketches from Strict Songs. 1 page unidentified sketches.

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1 fragment of tuning schema.

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1 page, blueprint copy with notes and tuning schema.

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Concerto in Slendro 1961

Physical Description: 78 pages

Subseries Scope and Content Summary

The Concerto in Slendro was mostly composed in 1961 aboard the S. S. New York en route to Japan. It is filled with my eager anticipation of a first taste of the beauty and bustle of Asia. The title derives from the fine Indonesian theoretical term denoting any five-tone mode in which the "seconds" are roughly "major" (or large) and the "thirds" "minor' (or small). A complimentary term "pelog" refers to the opposite kind of mode - "seconds" small and "thirds" wide. This Concerto uses two Slendro type modes only: the "Prime Pentatonic" (if you will) and its associated "minor". These two modes are perhaps the most common and generally loved of all modes - the first is practically the "Human Song". I intended that the two modes are in correct "just intonation" on a general basis 25/24 below A440.

Instrumentation of the Concerto in Slendro is for specially tuned celesta and two "tack pianos" similarly tuned, with two percussionists playing 6 triangles, 6 gongs, and 4 galvanized iron garbage cans (an American metal drum). In the slow movement, two keyboard players use claves and iron pipes, reverting to their keyboards in the final movement.

Lou Harrison

Instrumentation: Solo violin, 2 tack pianos, celesta, 2 percussion

Movements: (1) Allegro vivo; (2) Molto adagio; (3) Allegro, molto vigoroso.

Dates: April 6, 1961; revised 1972

Premiere: January 21, 1962, Santa Cruz, CA.: Zelik Kaufman; Robert Hughes, conductor

Publisher: Peters, 1978

Length: 9.5 minutes

Notes: For Richard Dee

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Folio, 32 pages with autograph sketches and partial score; some unrelated sketches.

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Folio, 8 pages various sketches; some unrelated, including 1 page of Sonata for Psaltery.

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16 additional pages, sketches.

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Large format published score [copy of composer's autograph] with notes for performance and recording sessions, 22 pages.

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A Majestic Fanfare 1963

Physical Description: 1 page

Subseries Scope and Content Summary

Instrumentation: 3 trumpets, 2 percussion

Dates: January 20, 1963 (2:15-3:00 p.m.)

Premiere: March 7, 1963

Publisher: Unpublished

Length: Variable

Notes: For the opening of the Art and Music Department of the San Francisco Public Library, San Francisco, CA. The repeat may be "ignored, observed or multiplied at pleasure".

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1 page autograph score.

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Avalokitshvara 1964

Physical Description: 16 pages

Subseries Scope and Content Summary

Instrumentation: Harp or grand psaltery, percussion (guitar also approved by composer).

Date: December 29, 1964

Publisher: Music for Harp (Salvi, 1978) without percussion; Lou Harrison Guitar Book (D. Tanebaum, ed. Columbia Music, 1994), guitar and percussion parts.

Length: 2 minutes

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Folio, 16 pages. 10 pages autograph score, revisions, tuning schema, sketches.

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Elegy for Harpo Marx 1964

Physical Description: 1 page

Subseries Scope and Content Summary

Instrumentation: Harp

Date: October 4, 1964

Premiere: Never performed

Publisher: Unpublished manuscript

Length: 2.5 minutes

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1 page autograph score, pencil.

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In Memory of Victor Jowers 1967

Physical Description: 6 pages

Subseries Scope and Content Summary

My good and jovial friend, Victor Jowers, died pathetically and slowly of blood cancer. He had been made to watch atom bomb tests in Nevada. Gradually we learn little bits of information about U.S. use of citizens as subjects of lethal experiments. We will never know all of such done in the past, nor, indeed, of what is presently being committed. It is heartrending to know this.

Lou Harrison

Instrumentation: Clarinet (or English horn), piano (or harp)

Date: November 1967

Premiere: November 19, 1967, Unitarian Fellowship, Aptos, CA. (for the Jowers memorial service)

Publisher: Frog Peak

Length: 3.5 minutes

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4 autograph pages: 1 page sketch. 1 page unrelated ( Beverly's Troubadour Piece). 1 page clarinet part. 1 page score.

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Festive Movement 1972

Physical Description: 67 pages

Subseries Scope and Content Summary

Instrumentation: Flute, clarinet, violin, cello, piano

Dates: Begun June 1972; completed October 15, 1972

Premiere: November 13, 1972, Alice Tully Hall, Lincoln Center for the Performing Arts, New York, N.Y.: Aeolian Chamber Players

Publisher: UNPUBLISHED - NOT AUTHORIZED FOR PERFORMANCE

Length: 10.5 minutes

Notes: Premiere: benefit for Francis Thorne Fund 1973

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30 pages autograph sketches, with titles page.

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37 pages autograph score plus title page.

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Jahla for Leopold Stowkowski (Jahla in the Form of a Ductia to Pleasure Leopold Stokowski on his Ninetieth Birthday) 1972

Physical Description: 3 pages

Subseries Scope and Content Summary

A friend of mine alerted me to the fact that the friendly conductor, Leopold Stokowski was about to enjoy his 90th birthday, and that various composer friends were writing little pieces to play during rehearsals at that time. I very quickly composed my Jahla to Pleasure Leopold Stokowski on his Ninetieth Birthday, copied it out in two colors on Whatman paper (when that wonderfully-fine English paper was still available) and quickly mailed the piece off. I believe it was played, as were the other affectionate tributes, during a rehearsal at about the time of his birthday.

Lou Harrison

Instrumentation: Harp, percussion (guitar also approved by composer)

Date: March 28, 1972

Publisher: Music for Harp (Salvi, 1978); Lou Harrison Guitar Book (D. Tanebaum, ed. Columbia Music, 1994)

Length: 2 minutes

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2 pages: 1 page autograph score and sketches for harp. 1 page autograph score, sketches and notes for percussion ostinato.

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Sonata in Ishartum 1974

Physical Description: 2 pages

Subseries Scope and Content Summary

Instrumentation: Harp (guitar also approved by composer)

Dates: April 14 ("Easter Sunday"), 1974

Publisher: Music for Harp (Salvi, 1978); Lou Harrison Guitar Book (D. Tanebaum, ed. Columbia Music, 1994)

Length: 1.5 minutes

Notes: To Randall Wong. Written in ancient Babylonian mode

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2 pages: 1 page autograph score, with tuning schema. 1 page autograph score before revision.

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Varied Trio 1986

Physical Description: 19 pages

Subseries Scope and Content Summary

During American Music Week of 1986, Bill and I had the happiness to tour in a program entitled "Three Generations in American Music" with David Abel, Julie Steinberg, and William Winant. As composer, I was full of admiration for the way in which our friends played my music and we had a wonderful time. Julie did not hesitate to pick up the African Mbira, David played with accuracy and elegance, intervals not customarily required, and Willie, expert percussionist that he is, used the second alternative in a movement of works by Henry Cowell which asks for either porcelain bowls or metal bowls. For that reason, in the second movement of this piece I have written for a set of porcelain bowls as a kind of substitute pleasure. Not long before the premiere of Varied Trio, Bill and I noticed in a kitchen supply store window, a set of baking tins and both of us said at once, "Those are instruments!" So we got a set, and they turn up in the final Dance in this work.

For David and Julie, I have written and ornamented an expressive rhapsody in the Elegy , which is the third movement, and the Rondeau, which is in honor of the great French painter Fragonard. It was always intended that this work be completed as a trio only for David, Julie, and Willie, and I left the making of that version to those three capable artists... a version which has proved very successful and delightful.

Lou Harrison

Instrumentation: Violin, piano, percussion

Movements: (1)Gending; (2)Bowl Bell; (3)Elegy; (4)Rondeau in honor of Fragonard; (5)Dance

Date: Begun 1986; completed February 4, 1987 (Rondeau)

Premiere: Quintet version (including Harrison and Colvig on harp and bells): February 28, 1987, Hertz Hall, Berkeley, CA; trio version: May 14, 1987, Mills College, Oakland, CA: both performed by Abel-Steinberg-Winant Trio

Publisher: Frog Peak; projected for MUSA.

Length: 15 minutes

Recordings: CD: NA 015 and 036: Abel-Steinberg-Winant Trio.

Notes: Originally a quintet with harp, bells.

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Original version for quintet only:

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Movement I, Gending: 3 pages autograph score.

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Movement II, Bowl Bells: 4 pages autograph score.

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Movement III, Elegy: 1 page autograph score.

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Movement IV, Rondeau: 2 pages autograph score.

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Movement V, Dance: 8 pages autograph score.

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Additional materials: 1 page sketches for virginal Movements I and III.

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Grand Duo 1988

Physical Description: 46 pages

Subseries Scope and Content Summary

In a fine Japanese restaurant in Philadelphia one day in 1988 I told Dennis Russell Davies that I was going to compose for him and his friend Romuald Tecco a polka. We had been talking for a while about my composing for the two of them a largish concert piece. The polka turned out to be the finale. In Portland Oregon I began a richly rhapsodic section that became Movement IV, and that consciously, though quite naturally, contains an Ivesian hymn-tune like section which is repeated. I say "consciously", because when the part appeared out of my material I thought "oh, this is very Ivesian" but saw no reason to abjure it, any more than I have abjured passages that remind of other composers. Since I was writing for Dennis who is a very dear and long-time friend, it occurred to me to include, as movement three, a developed version of a "round" that I had composed in his home in Stuttgart for his two daughters to play on violins. Then I thought to ask Romuald whether he had a tune or melody that he liked that I could also weave into this composition for two good friends. He suggested the barcarolle from Tales from Hoffman. This will be found, just the beginning of it, in the opening bass of the first movement. In two movements the pianist needs to play with a padded bar which exactly depresses all the keys of an octave. It makes for brilliance and gives two tone-colors; both the white-key set, and the black-key set, thus enriching the texture. Naturally Dennis immediately christened the bar a "piano-banger". The original artists have recorded the work, many others have played it, and I am happy that the choreographer Mark Morris has created a massively powerful ballet for it.

Lou Harrison

Instrumentation: Violin, piano

Movements: (1) Prelude: moderato; (2) Stampede: allegro; (3) A Round (Annabelle and April's): molto moderato, generally tender; (4) Air: slow and sometimes rhapsodically; (5) Polka.

Dates: Movements I-II: 1988. Movement III: begun May 29-31, 1981; completed May 1988. Movement IV: May 5, 1988. Movement V: May 30, 1988.

Premiere: July 28, 1988, Cabrillo Music Festival, Aptos, CA: Romuald Tecco, violin; Dennis Russell Davis, piano.

Publisher: Lou Harrison: Keyboard and Chamber Music, 1937-1994, Leta Miller, ed. In Music in the United States of America (A-R Editions, 1998)

Length: 35 minutes

Cross References: Opening motive of Movement V related to Reel:, Homage to Henry Cowell (1939).

Notes: Commissioned by Cabrillo Music Festival. Movements I, II, III, and V subsequently choreographed by Mark Morris (1993).

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3 title pages.

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Movement I, Prelude:

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2 pages autograph score.

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3 pages autograph sketches.

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Movement II, Stampede:

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9 pages autograph score. 1 page autograph partial score, 1st version.

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3 page copy of autograph with revisions in pencil.

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Movement III, Round:

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2 pages autograph score.

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1 page copy of autograph, first version, with pencil revisions. Revisions incorporated into above autograph score.

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2 pages copy of original autograph of Round for violins with pencil revisions for violin and piano.

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Movement IV, Slow:

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6 pages autograph score

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5 pages copy of autograph with pencil revisions; 1st, 2nd, 3rd.

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Movement V, Polka:

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6 pages autograph score.

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2 pages autograph sketches.

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1 page copy of autograph with small change in dynamic in pencil.

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Piano Trio 1990

Physical Description: 28 pages

Subseries Scope and Content Summary

My only piano trio was commissioned in 1989 by the Mirecourt Trio. It is the second of my works commissioned by the group, the first being the Double Concerto for Violin and Cello with Javanese Gamelan. The third movement of the work is a little suite of solos for the three musicians...they are again united in the finale. With the exception of the one chromatic movement which is dedicated to the memory of Virgil Thomson, all of the remaining movements are modal in character and the entire work is melodic. This was the first work that I composed after triple-bypass heart surgery, and it was interrupted by a major earthquake and the death of my good friend and mentor, Virgil Thomson...thus, it has a complex history. The premiere performance took place with the Mirecourt Trio at the Menil Museum in Houston during the Veneralia of 1990.

Lou Harrison

Instrumentation: Violin, cello, piano

Movements: (1) Molto moderato; (2) Slow; (3) a. Dance, b. Rhapsody, c. Song; (4) Allegro.

Dates: Movement I: September 3, 1989; Movement II: October 6, 1989; Movement III: no date; Movement IV: February 22, 1990

Premiere: April 3, 1990, Da Camera Society, sponsored at the Meril Collection, Houston, TX: Mirecourt Trio.

Publisher: Peters

Length: 23 minutes

Notes: Commissioned by Mirecourt Trio. Movement II dedicated to Virgil Thomson. Several movements subsequently choreographed by Mark Morris in Pacific for the San Francisco Ballet

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Movement I: 7 pages autograph score.

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Movement II: 5 pages autograph score.

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Movement III:

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A - 1 page sketch.

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B - 3 pages autograph score.

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C - 1 page autograph score.

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Movement IV: 11 pages autograph score.

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Songs in the Forest 1992

Physical Description: 11 pages

Subseries Scope and Content Summary

Instrumentation: Flute, violin, piano, vibraphone (with narrative)

Movements: (1) Slowish (2) Fastish (3) Largo

Dates: Begun 1951, revised and completed 1992 (before March)

Premiere: March 7, 1992, De Young Museum, San Francisco, CA: Abel-Steinberg-Winant Trio.

Text: Lou Harrison, Joys and Perplexities: Selected Poems of Lou Harrison (Winston-Salem, N.C.: Jargon Society, 1992), 12.

Publisher: Peer

Length: 9.5 minutes

Notes: Revised for Black Mountain College reunion, 1992. Spoken text preceding each movement.

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Movement I: 2 pages autograph score.

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Movement II: 3 pages autograph score.

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Movement III

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2 pages autograph score.

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2 pages photocopy of autograph score from notebook with pencil revisions.

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2 pages autograph poems (each page consists of all three poems used in performance).

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An Old Times Tune for Merce Cunningham's 75th Birthday 1993

Physical Description: 5 pages

Subseries Scope and Content Summary

Instrumentation: String quartet, piano (arranged for piano solo by Michael Boriskin, approved by composer).

Dates: December 11, 1993 based on sketches from 1952.

Premiere: March 1, 1994, New York Street Theater, Lincoln Center for the Performing Arts, New York, N.Y.: White Oak Chamber Ensemble, Piano version: October 22, 1994, Cabrillo College, Aptos, CA: Michael Boriskin.

Publisher: Frog Peak

Length: 2 minutes

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Folio, 4 pages. 2 pages autograph score.

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1 page autograph sketch.

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Suite for Cello and Piano 1995

Physical Description: 12 pages

Subseries Scope and Content Summary

My Suite for Cello and Piano was begun as a request from a good friend who was a music-loving physician. He played piano and wished for a work that he could play with a colleague doctor who played 'cello. It so happened that my notebooks contained two melodies begun in the late 40s which were possible, and I began with the use and development of them. At this point, and to our distress, Dr. Robert Korns died. Thus I composed an elegy in his memory, which became the middle movement of the suite. Dr. John Waters did indeed play the 'cello part during the memorial service for Robert Korns, a service completely designed and planned, even as to costumes, several years before, by the good Doctor Korns himself.

Lou Harrison

Instrumentation: Cello, piano (arranged for string orchestra by Robert Hughes, 1997)

Movements: (1) Moderato (2) Elegy (3) Allegro

Dates: May 5, 1995 (Movements 1 and 3 based on sketches from 1947-48).

Premiere: May 13, 1995, All Saints Episcopal Church, Watsonville, CA (memorial service for Robert Korns).

Publisher: Peer

Length: 8 minutes

Cross References: Movement 1 from sketch of a rondeau, ca. 1948; Movement 3 from sketches (1947-48) originally envisioned as part of Air in G Minor

Notes: In honor of Robert Korns./

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8 pages autograph score.

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Folio, 4 pages - 3 pages autograph and photocopy sketches, (some unrelated).

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Short Set from Lazarus Laughed 1999

Physical Description: 13 pages

Subseries Scope and Content Summary

In 1994 I composed Incidental music to Eugene O'Neill's Lazarus Laughed at the request of Eric Bauersfeld, Director of Bay Area Radio Drama (BARD) to be used in his full scale production of the drama. We agreed that my fair amount of music might eventually be constituted as a symphonic suite. Then earlier this year, I was asked to contribute a piece, with this specific instrumentation, to a memorial concert honoring my good friend Ben Weber thus, this small set looks toward that.

Here, in the first movement only, I have used the Celesta as a percussion instrument, requiring in the right hand, the use of a snare-drum stick played upside down on the right hand handle of the Celesta, and, in the left hand, an octave bar playing on the keyboard.

Lou Harrison

Instrumentation: Flute, cello, celesta

Movements: (1) Caligula's Dance; (2) Miriam; (3) Round Dance.

Date: 1999

Notes: For a concert in honor of Ben Weber.

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Movement I, Caligula's Dance:

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3 pages autograph score.

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2 pages copy of autograph from original Lazarus Laughed with autograph revisions.

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Movement II, Miriam:

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2 pages autograph score(1) and autograph part for flute(2).

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Movement III, Round Dance:

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3 pages autograph score.

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3 pages copy of autograph from original Lazarus Laughed with autograph sketches and revisions.

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Scenes from Nek Chand 2001-2002

Physical Description: pages

Subseries Scope and Content Summary

Instrumentation: National Steel Guitar

Movements: (I) The Leaning Lady; (II) The Rock Garden; (III) The Sinuos Arcade with Swing in the Arches

Date: 2001-2002

Premiere: ?

Publisher: ?

Length: ?

Notes: See also MS 132 Ser.2 Notebooks: Notebook #28.

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Movement I: 1 page copy of autograph score dated "Xmas Eve, 2001"

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Movement II: 1 page copy of autograph score.

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Movement III: 2 pages autograph score signed and dated "L.H. 2001-2002, Aptos"

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Additional materials:

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1 page autograph tuning schema.

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1 page photocopy of autograph tuning schema and ending of Movement III "written out, with best wishes, for Peter Muller from Lou Harrison"

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5. Percussion 1939-1972

Physical Description: 9 titles

Series Scope and Content Summary

Percussion works (excluding gamelan) are listed for Large Ensemble, and Pieces for 2-5 players, with one work for solo performer. This listing includes works for percussion with solo instruments such as organ, violin, and flute.

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First Concerto for Flute and Percussion 1939

Physical Description: 13 pages

Subseries Scope and Content Summary

It was Henry Cowell who first pointed out to me the fact that an enormous amount of the world's music consists of a melody with some sort of rhythmic support. In this Concerto the percussionists play short ostinati for each movement while the flute, often "crossing" the rhythms of the accompaniment, makes tune-like music for which only three intervals are used. The outer movements share the same set of intervals, while the middle movement explores another set.

Lou Harrison

Instrumentation: Flute, 2 percussion

Movements: (1) Earnest, fresh, and fastish (2) Slow and poignant (3) Strong, swinging, and fastish

Date: April 15, 1939

Premiere: August 10, 1941, Bennington College, VT: Otto Luening (flute), Henry Cowell, Frank Wigglesworth (percussion)

Publisher: Peters

Length: 9 minutes

Notes: For Henry Cowell (composer prefers flute part in Movement I transposed up a 4th; in Movement III, up an 8ve).

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Folio, 8 pages. 7 pages autograph score in ink.

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Folio, 4 pages. 3 pages autograph score in pencil.

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1 page autograph sketch from Counterdance in Spring.

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Tributes to Charon: Counterdance in the Spring 1939

Physical Description: 17 pages

Subseries Scope and Content Summary

Instrumentation: 3 percussion

Date: March 29, 1939

Premiere: May 19, 1939, Cornish School, Seattle: John Cage, conductor

Publisher: Music in the United States of America (A-R Editions, 1998), Lou Harrison: Keyboard and Chamber Music, 1937-1994, Leta Miller, ed.

Length: 3.5 minutes

Cross References: See Tributes to Charon(1982)

Notes: Subsequently choreographed by Jean Erdman as Creature on a Journey(1943)

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Counterdance In the Spring

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Folio, 8 pages. 5 pages autograph score, ink.

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Folio, 4 pages. 3 pages autograph part for player I.

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1 page autograph part for player II.

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Folio, 4 pages. 3 pages autograph part for player III.

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Tributes to Charon: Counterdance in the Spring, Passage through Darkness 1939-82

Physical Description: 19 pages

Subseries Scope and Content Summary

Tributes to Charon stands as a fine example of Harrison's pioneering work with the percussion ensemble during the 1930s, and shows as well the genre's continuing influence on him in later years. One movement (Counterdance in the Spring) was completed in 1939, prompted by a request from John Cage; the other was not written until 1982, though Harrison envisioned its form and instrumentation from the start. Although the entire piece is only seven minutes in length, Tributes clearly demonstrates Harrison's interests in timbral variety, motivic transformation, and formal coherence. Working within the confines of a small ensemble and writing (in the case of the earlier movement) for a group of most non-professional instrumentalists, he was nevertheless able to achieve technical virtuosity and a successful coupling of dynamism and melodicism. Although the work was not composed for dance, the kinetic influence of Harrison's dance training on Counterdance in the Spring is unmistakable; in fact, this movement has been performed most frequently as the accompaniment for choreography by Jean Erdman.

In a letter from Cage to Harrison in 1939, Cage told Harrison that he anxiously awaited the companion movement for Counterdance in the Spring, which Harrison had apparently promised. Harrison already had a title for it, Passage Through Darkness and envisioned the prominent use of alarm clocks. The two movements were to be linked under the title Tributes to Charon. (Charon is the mythological boatman of Hades).

Despite Harrison's plans, the opening movement for Tributes did not progress past the conceptual stage until 1982, when he finally composed it for percussionist William Winant - using both the original title and the alarm clocks.

Instrumentation: 3 percussion

Movements: (1) Passage through Darkness (2) Counterdance in the Spring

Dates: (1) May 6, 1982; (2) March 29, 1939

Premiere: Movement I: May 10, 1982, Mills College, Oakland, CA: William Winant and ensemble; Movement II: May 19, 1939, Cornish School, Seattle, WA: John Cage and ensemble.

Publisher: Music in the United States of America (A-R Editions, 1998), Lou Harrison: Keyboard and Chamber Music, 1937-1994, Leta Miller, ed.

Length: 7 minutes

Cross References: See listing for Counterdance in 1939.

Notes: Movement I (includes title) envisioned in 1939, but not completed until 1982. Counterdance choreographed by Jean Erdman as Creature on a Journey (1943).

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Counterdance In the Spring

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Folio, 8 pages. 5 pages autograph score, ink.

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Folio, 4 pages. 3 pages autograph part for player I.

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1 page autograph part for player II.

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Folio, 4 pages. 3 pages autograph part for player III.

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Passage through Darkness

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2 pages photocopy of autograph from notebook, 1982

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1 page, photocopy of autograph sketches.

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Concerto for Violin and Percussion Orchestra (Kon-certo por la violono kun perkuta orkestro) 1940-59

Physical Description: 40 pages, 1 score, 3 fragments

Subseries Scope and Content Summary

This work, though it is more immediately a romantic one and was noticeably inspired by the Berg Violin Concerto, nonetheless finds its solid groundwork and foundation in world music. It is among many of my compositions which follow the pattern of having a single melodic part accompanied (or enhanced) by rhythmic percussion, whether with or without additional drone. The model is, of course, world-wide. This is the standard usage in India, in Islam, in Sinitic folk (if not in the cultivated) music of Africa - and where not else?

The use of a modern European instrument as soloist, the mixture of "junk" instruments with standard ones in the percussion section, and the employment of romantic concerto form constitute the only novelties, from the world point of view. Quite full sketches of this Koncherto (the international language approved by UNESCO ) were made in 1940. In 1959 my friend Anahid Ajemin offered to premiere a completed version and I succeeded in readying it for her concert of that year. Subsequently the work has had multiple performances by Eudice Shapiro. For those who share my how-to-do-it interests, allow me to explain the most interesting feature of the solo part. From the beginning to the end of the composition, the violin plays only three melodic intervals: the minor second, the major third, and the major sixth - even the beginnings of phrases are connected to their predecessors by one of these intervals. From any tone, then, the compositional choice was one out of six possible ones. This method of "interval controls" I first conceived in the middle 1930s and have used in many works. It is, of course, a good way, other than Schoenberg's "12-tone System" with which to compose predominantly chromatic music.

Lou Harrison

Instrumentation: Violin, 5 percussion

Movements: (1) Allegro maestoso (2) Largo: Cantabile (3) Allegro vigoroso, poco presto

Dates: Begun 1940 or 1941 as Concerto #5 for Violin; completed 1959; revised 1974

Premiere: November 19, 1959, Carnegie Hall, New York, N.Y.: Anahid Ajemian; Paul Price, conductor

Publisher: Peters, 1961

Length: 20 minutes

Notes: Commissioned by Anahid Ajemian.

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Folio, 20 pages. 14 pages autograph score ink, ca. 1940, with pencil revisions, ca. 1959

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Folio, 6 pages, autograph sketches, ca. 1959

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14 pages a, 9.5 x 12.5 inches autograph score ink, ca. 1940 with pencil revisions ca. 1959.

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Published score, accordion fold, with additional autograph notes, sketches and remarks by composer.

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3 fragments autograph percussion list and notes.

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Song of Quetzalcoatl 1941

Physical Description: 11 pages

Subseries Scope and Content Summary

In the late 1930s and early 1940s I was, as have been many Californians, enamoured of Mexico. At about this time a small book of reproductions from Mexican codices, all in color, came into my possession and I immediately wanted to do something on the life of the culture-hero Quetzalcoatl which was there depicted. It was also a period in which one or two films were made in which the camera explored a painting in detail with musical accompaniment. Thus I immediately thought of such a thing in connection with the Mexican codices.

I did not have any access to film at the time, but went ahead enthusiastically to the composition of a score. This must have been a hint to Eric Marin several years ago, for in his excellent film about me and Bill, Cherish, Conserve, Consider, Create he made a passage in which part of the score is used with still photos of Mexican architecture and people.

I still believe that a complete film could be made based on my original idea. In any event, the score is played with fair frequency and I like to think it reminds audiences of the extraordinary and often very beautiful civilization of Mexico and its pre-Columbian history. The work was first performed at the California Club in San Francisco at a concert given by myself and John Cage. Included in the concert was Double Music which John and I composed together, and my 13th Simfony which was chosen by the audience to be recorded.

Lou Harrison

Instrumentation: 4 percussion

Date: February 6, 1941

Premiere: May 14, 1941, California Club, San Francisco, CA: Lou Harrison, John Cage, et al.

Publisher: Music for Percussion, 1962

Length: 6.5 minutes

Notes: Spelled "Quetzecoatl" on original manuscript

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11 pages, autograph score, ink.

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Canticle #3 1942

Physical Description: 40 pages, 1 notebook

Subseries Scope and Content Summary

During the time during which I composed my Canticle # 3 I was intensely interested in the history of Mexico, in all its elaborately beautiful arts. I had long since heard and treasured the wonderful recordings by the great composer Carlos Chavez of his reconstructions of possible pre-Columbian music, replete with whistles, tongue-drums and the grandeur of blown conch-shells. I had also composed a piece for percussion ensemble which I hoped might accompany a photographic study of the Quetzalcoatl codex. The latter dream has never come true. The ocarina in this Canticle is intended to remind of ancient things, of Mexican pyramids and frieze carvings, while the shamelessly strummed guitar suggests a later, Hispanic mode. The musical texture is composed of a number of small rhythmicles and melodicles woven together (so to speak) into a form which is roughly a-b-a in shape. As the piece gained power and intensity it occurred to me that the climax would be a contrast between full silences and full sounds, thus the interruptions in the center. The ending suggests a kind of procession moving off into the high distance.

Lou Harrison

Instrumentation: Ocarina, 5 percussion, guitar (guitar, ocarina parts may be played by two of the percussionists).

Dates: January-February 1942, revised 1989 (ocarina part ornamented)

Premiere: May 7, 1942, Holloway Playhouse (Fairmont Hotel), San Francisco, CA: Lou Harrison, conductor

Publisher: Music for Percussion, 1960

Length: 15 minutes

Notes: Music for Percussion score (and many subsequent sources) erroneously cite date as 1941. Composer prefers ocarina's 5-note scale to be "slendro" type: a third between the lowest two pitches and other notes separated by whole steps.

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Spiral bound notebook, 50 pages. 20 pages autograph score with performance cues and introductory notes.

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20 pages autograph parts, mounted with rubber cement to paper. Some with original art sketches on reverse.

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Autograph parts, ink and pencil on paper - 20 pages.

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Fugue for Percussion 1942

Physical Description: 1 notebook, 38 pages

Subseries Scope and Content Summary

Instrumentation: 4 percussion

Dates: 1942 (before move to Los Angeles in August 1942)

Publisher: Music for Percussion, 1962; republished 1982 with corrections by Gary Kvistad.

Length: 4 minutes

Notes: Harrison Music Primer, and other sources erroneously give date as 1941. Listed on program for New Music Society concert, New York, NY, May 10, 1951, but replaced by Canticle #3 at the last minute (review in New York Herald Tribune, May 12, 1951).

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Bound notebook, 58 pages.

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8 pages autograph score, pencil.

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26 pages, sketches for mobile ornaments for Johnny Appleseed, various notes for costumes. Various listings and sketches.

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Folio, 4 pages. 3 pages autograph part for player II.

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Folio, 4 pages. 3 pages autograph part for player III.

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One page red serigraph of first 11 measures.

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Canticle #5 1942

Physical Description: 8 pages

Subseries Scope and Content Summary

Instrumentation: 5 percussion

Date: June 10, 1942

Publisher: Unpublished manuscript

Cross References: Revised and used for Canticle and Round for Gerhard Samuel's Birthday, Movement I (1993)

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8 pages copy of original score of Canticle #5 from notebook.

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Canticle and Round in Honor of Gerhard Samuel's Birthday 1942-93

Physical Description: 17 pages

Subseries Scope and Content Summary

Instrumentation: 3 percussion (Movement I: original 5 percussion; arranged for 3 by Donald Otte, approved by composer).

Movements: (1) Canticle (2) Round

Date: Movement I: June 10, 1942; Movement II: December 17, 1993

Publisher: Unpublished manuscript

Cross References: Movement I is a reduction of Canticle #5 (1942) from 5 players to 3.

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Canticle: 8 pages copy of original score of Canticle #5 from notebook.

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Round: Folio, 8 pages. 4 pages autograph score, pencil, of Round for Gerhart Samuel.

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One page autograph sketches [11 x 8 inches].

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Recording Piece For Concert Boobams, Talking drums, with other percussion instruments 1955

Physical Description: 21 pages

Subseries Scope and Content Summary

Instrumentation: 5 percussion

Movements: (1) ca. 108 (2) ca. 120

Dates: July 29, 1955

Publisher: Unpublished manuscript

Notes: For multiple percussions with instructions about recording and electronic overlay.

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13 pages autograph score and performance instructions, ink.

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Folio, 8 pages sparse sketches.

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Solo for Tony Cirone (For D major tenor bells) 1972

Physical Description: 2 pages

Subseries Scope and Content Summary

Instrumentation: D major tenor bells

Date: April 2, 1972

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2 pages autograph score, pencil.

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Concerto for Organ with Percussion Orchestra 1973

Physical Description: 19 pages

Subseries Scope and Content Summary

In 1972, I was asked by Philip Simpson, who was then teaching organ at San Jose State University, for a work for his instrument. Within a day or so I also received a request from Anthony Cirone, director of the San Jose State University Percussion Ensemble, for a work for his year's concert. The two requests came so closely together that it occurred to me to try combining the two. It also seemed to me that since the percussion orchestra can make a lot of sound and the pipe organ can make a lot of sound too, to put them together and see what would happen. The work was premiered in 1973 and is dedicated to Gibson Walters, who made it possible, and to Anthony Cirone and Philip Simpson who asked for it.

For this work, Bill Colvig made for us some stunning new wooden drums...very large cube-like instruments suspended from a large rack, and he also added to the set of large gas cylinder bells which we had previously used in my Heart Sutra. Because the organ is a sustaining tonal instrument, and much of the percussion I wished to use was to be of abstract sound without specified fixed pitch, I felt that an intermediate group of percussion instruments of fixed pitch ought to be used. Thus, there is a chorus of piano, glockenspiel, vibraphone, celeste, and tube chimes which bridge between the organ and the abstract percussion section. My pleasure in the keyboard treatment of Henry Cowell lead me to the use of large sections of "cluster" writing for which Bill provided felt padded slabs and which require special techniques from the organist.

My feeling in the last movement was originally meant as a kind of homage to those syncopated sections in Caesar Frank. Although it is composed entirely in an inverted mode from ancient Greece, and is commonly construed by audiences as a sort of jazz festival, the central largo movement is another of my works using that 8-tone mode which runs half-step, whole-step, half-step, whole-step, etc...a mode which I always find a pleasure to use.

Lou Harrison

Instrumentation: Organ, 8 percussion, piano, celeste

Movements: (1) Allegro (2) Andante: Siciliana in the Form of a Double Canon (3) Largo (4) Canons and Choruses (5) Allegro: Finale

Date: Movement II: 1951, revised 1973. Rest of work begun 1972, completed 1973.

Premiere: April 30, 1973: San Jose State University, Philip Simpson, organ, Anthony Cirone, director, percussion ensemble

Publisher: Peer, 1978

Length: 23 minutes

Recordings: LP and CD: Crys 858 and CD850: D. Craighead, L.A. Percussion Ensemble; W. Kraft, conductor

Cross References: Movement II is revised version of Double Canon for Carl Ruggles (1951)

Notes: To Gibson Walters, Anthony Cirone, and Philip Simpson. Partial materials only. Additional materials housed at San Jose State University, San Jose, CA.

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Movement I: 1 page (page 19) autograph score.

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Movement II: 2 pages copy of autograph score.

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Movement III: 7 pages autograph score. Folio 4 pages. 2 pages autograph part for piano.

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Movement IV: 6 pages autograph score (missing page 1).

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Additional materials:

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2 pages autograph tempi instructions.

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1 page autograph instrument key for players 6-10.

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6. Gamelan 1972-1997

Physical Description: 2 titles

Series Scope and Content Summary

Gamelan works are listed by Javanese, Balinese and American. 'American' refers to pieces written for gamelons built by William Colvig based on traditional Indonesian instruments.

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Suite for Violin with American Gamelan 1972-97

Physical Description: 126 pages

Subseries Scope and Content Summary

It was in 1972 that our good friends Cathy and Bill Schulze asked us if we might organize a concert for Esperanto speakers after the International Conference in Seattle. We were happy to do this and I composed my Heart Sutra for chorus and Bill's first Gamelan. Richard Dee and I then cooperatively composed a "Chaconne" for our violinist friend, Loren Jakey, with the Gamelan that we had already used in the Heart Sutra. We felt that the success of the piece warranted going further and so we accepted a commission from the San Francisco Chamber Music Society for the present Suite which was then part of the Society's Christmas in the next year. I have always enjoyed working with other composers and my Double Music with John Cage attests to that, as well as works with Robert Hughes, this one with Richard Dee, and the fact that I have reconstructed sections of work by Charles Ives and by Henry Cowell...and worked with the latter...and so on. Co-op composition is fun if the rules are set up and nobody cheats.

Lou Harrison

NOTE: Harrison and Dee jointly composed the 'Chaconne' by " each of us composing a specific number of measures and then handing them back and forth ... adding on to the previous person's composition". The first performance of the Chaconne was at the premiere of La Koro Sutro in October 1972. Harrison and Dee co-wrote the Estampie in a similar way. Sketches in the extant manuscript collection are marked as to which composer's measures are used. Richard Dee composed, alone, the second Jahla and Harrison composed, alone, the Threnody as well as the first and third Jahla. Dee is the sole composer of the Air, based on an earlier work, the "Eros" a section of four settings of Harrison's Four Saints of the Palestra.

Instrumentation: (a) Solo violin, American Gamelan; (b) arranged for violin and orchestra (piano, celestra, 2 harps, strings) by Kerry Lewis

Movements: (1) Threnody (2) Estampie (3) Air (4) Three Jahlas (Moderato -Allegro poco presto- Adagio) (5) Chaconne

Premiere: Movement V: October 29, 1972, Hartnell College, Salinas, CA; Complete work, version a: December 9, 1974, Lone Mountain College, San Francisco, CA: Lauren Jakey, violin, version b: July 17, 1993, Pacific Music Festival, Sapporo, Japan: Chi Yun, violin, Michael Tilson Thomas, conductor.

Publisher: Peer (both versions)

Length: 28 minutes

Notes: Commissioned by San Francisco Chamber Music Society, Norman Fromm Composer's Award.

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Movement I, Threnody:

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3 pages autograph sketches.

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17 pages autograph score.

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Movement II, Estampie:

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6 pages autograph schema. 5 pages in Harrison's hand and 4 pages in Richard Dee's hand.

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49 pages autograph score.

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Movement IV, Three Jahla's:

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Jahla 1:

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2 pages autograph sketches.

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2 pages autograph score for Gamelan.

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5 pages autograph score.

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Jahla 2:

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1 page autograph sketches and schema in Richard Dee's hand with additional sketches in Harrison's hand.

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5 pages autograph score.

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Jahla 3:

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2 pages autograph sketches.

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3 pages autograph scores.

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Movement V, Chaconne:

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24 pages autograph score.

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Additional Materials:

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1 page " Suite Outline".

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1 page melodicle schema.

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Richard Whittington 1980-1982

Physical Description: 1 notebook

Subseries Scope and Content Summary

Instrumentation: Gamalan, voice, narrator, and puppets.

Movements: Incidental music for narrative to the text by John Masefield (1931).

Date: 1980-1982

Premiere: December 9, 1982 at Mills College, Oakland, CA.

Publisher: Unpublished

Notes: Not authorized for performance. Manuscript is a compilation of gamelon works with vocal parts.

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See Ser.2 Notebooks: Notebook #

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Double Concerto for Violin, Cello, and Gamelan 1981-82

Physical Description: 2 notebooks

Subseries Scope and Content Summary

In 1981 and 1982 I composed my Double Concerto especially for Kenneth Goldsmith, violin, and Terry King, cello, of the Mirecourt Trio. The symphonic nature of a large Javanese Gamelan suggested to me that it might take a similar role to a Western orchestra as co-operative accompaniment in a concerto. I had already composed my Scenes from Cavafy for a Western-style operatic baritone with Javanese Gamelan, and it was clear that these combinations of Western instrument with Gamelan would be attractive. Indeed, I had also composed a work for Western viola and a work for Western French horn with the smaller west-Javanese Gamelan Degung. The work for French horn with Gamelan Degung is titled Main Bersama-sama, which means "playing together" and is the term used when an instrument from another culture plays with an Indonesian Gamelan. It is of course a wonderful idea....playing together...and some of that spirit entered into my composition of the Concerto. Naturally, I such combination both traditions manifest themselves, so that in the first movement of the Concerto, a kind of Brahms-and Bach sound happens in the soloist, which combines suitably with the heroic style of the Gamelan in that particular mode. More recently I have composed a concerto for piano with Javanese Gamelan, and I wondered a little when I had completed it why the piano (although fully tuned to the [pitches of the Gamelan ) so frequently sounded like Hayden or Schubert. It dawned on me of course that in working with Javanese Gamelan one is involved in a truly classic kind of art. And so I was not then so surprised to realize that the presence of the Gamelan had invoked at least some form of classicism in the piano. To return to the Double Concerto... I was much worried about the problem of intonation between the strings and the Gamelan. The occasion arose to try two movements of it in a concert at the University of California at Los Angeles, making use of the gamelan Kyai Mendung, imported early on by our foremost Javanese music scholar Mantle Hood. To my delight, it seemed that the piece would work. Since I had treated the two soloists rather as the Javanese would, fairly simply in the other two movements, I wrote a virtuosic middle movement in the "half step-whole step" mode frequently used by Rimsky-Korsakov, Oliver Messaien, and others. It has the advantage of sounding chromatic although it uses only eight tones, which would provide a distinct difference from the traditional tunings of the outer movements, and still not allow a full encampment of Westernism in the central section. I used only two kendang, beduk, and gong ageng to support the soloists in the movement, and indeed they do their traditional function of marking off the various sections of the movement. The Concerto received its premiere in a handsome birthday concert given me by Mills College in May of 1982, and it was recorded (with the Mills Gamelan....Si Darius and Si Madelaine...built by William Colvig ) during the rehearsals.

Lou Harrison

Instrumentation: Solo violin, solo cello, Javanese gamelan (pelog and slendro)

Movements: (1) Ladrang Epikuros (2)Stampede: Allegro molto, vigoroso (3) Gending Hephaestus

Date: Movements I and III: gamalan part, March 3, 10, 1981; violin/cello parts added before May 1982; Movement II: April 1982

Premiere: May 10, 1982, Mills College, Oakland, CA: Kenneth Goldsmith, violin; Terry King, cello; Mills College Gamelan, Oakland, CA.

Publisher: American Gamelan Institute

Length: 23 minutes

Cross Reference: Ladrang Epikuros and Gending Hephaestus (separate gamelan works, 1981) used as gamalan part in Movements I and III of Double Concerto.

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96 page spiral bound music notebook with autograph score and sketches. Notebook also includes the work Richard Whittington.

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32 page spiral bound music notebook with autograph score and parts including sketches for other various gamelan works and 2 pages sketches of Movement III, Piano Concerto with Selected Orchestra. See Ser.2 Notebooks: Notebook #65.

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Gending in Honor of Aphrodite 1982

Physical Description: 7 pages

Subseries Scope and Content Summary

My Gending in Honor of Aphrodite is not in the classic Javanese for such a work, but rather, written in a kind of free verse balance of phrases. I first used it in a theater work which I have since disbanded and then decoded to use the work as such. My friend, Mantle Hood, suggested that the work would be properly completed with the addition of voices, so I wrote the vocal sections. My words reflect the anguish of our daily threat in its appeal to Aphrodite to send the full strength of her powerful son, Eros, to help us with "unstrict affection".....unstructured by nationality, class, social ritual, and all those terrible hazards which may lead to the end....if simple accident doesn't. The words are congested with meaning, but I couldn't help it at the time!

Bright Lady, bird-drawn in the sky of light

Oh move us all to unstrict affection

Oh love of the great and broken smithy

Send the full blood of your beautiful Son

Against this Mars-worn, suiciding world.

Lou Harrison

Instrumentation: Chorus, harp, Javanese gamelan (pelog)

Date: Gamelan part: October 11, 1982. Harp part added June 10, 1986

Text: Lou Harrison, Joys and Perplexities: Selected Poems of Lou Harrison (Winston-Salem, N.C.: Jargon Society, 1992)

Score: American Gamelan Institute

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Harp part. 3 pages autograph and copy of autograph with pencil additions.

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Chorus. 2 pages autograph sketches.

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Gamelan. 2 pages autograph and copy of autograph score and sketches.

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Gamelan with Western Instrument (Philemon and Baukis) 1985

Physical Description: 7 pages

Subseries Scope and Content Summary

Philemon and Baukis, the old loving couple who offered hospitality to Zeus and Hermes, are the subjects of many literary, musical, and visual works. The beautiful paintings by Adam Elsheimer and David Ligare concerning two different episodes of the legend are particularly dear to me. My friend Kathy Foley several years ago kindly asked me to compose a score for her very imaginative production of the entirety of Goethe's Faust. Towards the end of part II Goethe's disgusting episode about Philemon and Baukis caused me to compose a classic melody for Rebab and Sundanese Gamelan to sound as memory of the myth in direct contradiction to the violence of the events of the play. In the following year, I used this melody in more developed form for a dance choreographed by Remy Charlip for Tandy Beal. At the end of the dance her two male attendants needed a short episode and I built a faster melody directly on the same bass. My friend Dan Kobialka offered to play in a 70th Birthday concert in my honor presented by the Santa Cruz New Music Works and I seized the opportunity to complete for him the full version of my Philemon and Baukis, the beauty of his violin leading me on. The Javanese Gamelan with its rich methods supports the soloist throughout.

Lou Harrison

Instrumentation: Violin, Javanese gamelan (slendro)

Date: Begun 1985, completed 1987

Premiere: May 17, 1987: All Saints Episcopal, Watsonville, CA: Dan Kobialka, violin, Gamelan Si Betty, Trish Nielson, director

Publisher: American Gamelan Institute

Length: 12.5 minutes

Notes: For Daniel Kobialka

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1 page autograph gamelan and violin schema/score ca. 1985-1986

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3 pages autograph score ca. 1987

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1 page autograph sketches ca. 1987

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1 page autograph title page undated

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1 page autograph program note sketch undated

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A Soedjatmoko Set 1989

Physical Description: 10 pages

Subseries Scope and Content Summary

Instrumentation: Unison chorus, solo voice, Javanese gamelan (pelog)

Movements: (1) untitled; (2) Isna's Song; (3) untitled

Dates: December 1989

Premiere: January 13-14, 1990, Lewis and Clark College, Portland, OR.: The Venerable Showers of Beauty gamelan

Publisher: Frog Peak

Notes: Commissioned by Peter J. Poole as an offering to the Soedjatmoko family of Indonesia.

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10 pages autograph score. Gamelan protocols, gamelan parts, and voices.

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7. Non-Western Instruments 1940-1992

Physical Description: 12 titles

Series Scope and Content Summary

This series contains pieces played with non-western instruments. Asian ensemble, Asian, African and Western combinations, followed by solo Asian instrument further divide Non-Western Instrument works.

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Air for Violin, Ya Cheng, and Gender 1940

Physical Description: 5 pages

Subseries Scope and Content Summary

Instrumentation: Violin, ya cheng, gender

Dates: Undated (begun 1940, revised 1970s)

Publisher: Unpublished manuscript

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4 pages. 2 pages autograph score. ca. 1970

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1 page autograph sketch. ca. 1940 ca. 1970

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Moogunkwha, Se Tang Ak (Sharonrose, a New Song in the Old Style or A New Tang Melody) 1961

Physical Description: 26 pages

Subseries Scope and Content Summary

Instrumentation: Korean court orchestra (cross-flutes, double reeds, viols, psalteries, percussion)

Date: June 1961

Premiere: Read-through by students at Korean National Classical Music Institute in Seoul, Korea, 1961 or 1962.

Publisher: Unpublished manuscript

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Folio, 12 pages. 11 pages autograph score, 1 page autograph sketches (pencil).

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10 pages autograph score with title page and notes, (ink).

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Prelude for Piri and Reed Organ 1961

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: P'iri, organ

Dates: Between August and November 1961

Premiere: November 12, 1961, Sticky Wicket, Aptos, CA: Lou Harrison

Publisher: Unpublished manuscript

Cross References: Used in Nova Odo, Movement II (1968) and Homage to Messaien (1996).

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2 pages. 1 page autograph score (ink) - 1 page autograph sketch for Political Primer (not related), pencil.

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Folio, 4 pages 3 pages autograph sketches.

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Quintal Taryung 1961-62

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: (a) 2 Korean flutes, optional changgo (b) alto and tenor recorders, optional snareless drum

Date: Between September 1961 and June 1962

Publisher: Unpublished manuscript

Notes: For Robert Hughes

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Folio, 4 pages. 3 pages autograph score with introductory notes.

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Sonata for Psaltery 1961-62

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: Great psaltery (or cheng)

Dates: October 1961, revised 1962

Premiere: November 12, 1961, Sticky Wicket, Aptos, CA: Lou Harrison

Publisher: Frog Peak

Length: 2.5 minutes

Notes: For Liang Tsai Ping.

These four pages numbered consecutively

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1 page autograph score with revisions (Western notation).

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2 pages autograph notes, tuning schema, score ("Pan Sinitic" notation).

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1 page photocopy of autograph score and sketch.

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Pacifika Rondo 1963

Physical Description: 1 page

Subseries Scope and Content Summary

Instrumentation: Flute, trombone, organ, celesta, piano, vibraphone, percussion, strings; p'iris, sheng, psalteries, cheng, kayageum, pak, jahlataranga

Movements: (1) Family of the Court; (2) A Play of Dolphins; (3) Lotus; (4) In Sequoia's Shade; (5) Netzahualcoyotl Builds a Pyramid (Homage to Carlos Chávez); (6) A Hatred of the Filthy Bomb; (7) From the Dragon Pool

Date: May 1963

Premiere: May 26, 1963, University of Hawaii, Manoa, HI

Publisher: Peer

Notes: Commissioned by East-West Center, University of Hawaii. Dedicated to his parents.

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1 page autograph title page Movement II, in Esperanto with tuning schema.

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The Garden at One and a Quarter Moons 1964

Physical Description: 12 pages

Subseries Scope and Content Summary

Instrumentation: Great psaltery (or cheng)

Dates: December 21, 1964; revised November 9, 1966

Publisher: Frog Peak

Length: 2.5 minutes

Notes: For Robert Hughes

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Folio, 4 pages. 1 page title. 1 page score ("Pan-Sinitic" notation).

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Folio, 4 pages. 2 pages autograph score with tuning schema and notes ("Pan-Sinitic" and Western notation).

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Folio, 4 pages. 2 pages autograph score with revisions (Western notation).

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Wesak Sonata 1964

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: Cheng

Movements: (1) Grave (2) Allegro

Dates: Movement I: April - May 1964; work completed, June 1964

Premiere: November 15, 1964, Old Spaghetti Factory, San Francisco, CA: Margaret Fabrizio

Publisher: Author's private edition

Notes: For Wesak day (April 8). "Author's Private Edition" used for limited serigraph edition.

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4 pages autograph score with tuning schema and introductory notes.

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Music for Violin with Various Instruments, European, Asian, and African 1967

Physical Description: 17 pages

Subseries Scope and Content Summary

My Music for Violin with Various Instruments was written for Gary Beswick's graduation recital from San Jose State University. I was determined not to write a violin piece with piano accompaniment. Since I was collecting instruments for demonstrations and presentations for my World Music class, I chose a set to form the accompanying ensemble for the solo violin work. There are three movements. The first is called ductia and that is a form derived from a European form which resembles the estampie but differs from the latter in that it is rhythmically free and is generally of fewer strophes. Though it does preserve the idea of a theme followed by a half-cadence and then a repeat of the theme followed by a full cadence. In this movement I chose for accompaniment a reed-organ (Army leftover from World War II) which had been tuned in just Pythagorean tunings especially for the use which I put it here, droning. The psaltery here is a very large one of my own design which was based on the general principals of the Chinese cheng. It was built to my specifications by Morris Reynolds in 1961. In this instance the size is such that the instrument has its own "leg system", and the strings are so far apart that the use of octave and fifth chords in the accompaniment needed to be accomplished by the making of a plectrum holding three wires which project down to the strings and produce the required tones. The drums are of ordinary tom-tom kind.

Movement II uses the reed organ drone on the tonic, the 2nd degree, the 5th degree and the octave above the tonic. It sustains this chord through the 1st and last portions of the piece while reducing forces in the middle section. I have not hesitated here, because the organ is correctly tuned, to ask of the violinist correctly played 7th and 11th overtones. The effect of the violin with the organ in this movement suggests the sound of Japanese gagaku.

I was fortunate in my World Music class to have an African student who was able to build for me a group of mbiras - 2 for the upper register and 2 for the lower tones. The 1st mbira player plays the tune along with the violin but adding those sounds that an mbira player usually adds; slapping the back of the instrument and stomping his foot on the strong beats. Mbira's 2, 3, and 4, play the scales up and down in such a way that the more steadily progressing mbira 2 is supported by rich tonal brocade. All of the instruments play in the correctly tuned mode that they share with the violin. The form of the piece is generally antiphonal. The solo violin and mbira player #1 consorting together and then the entire ensemble resounding with harmonious support.

Lou Harrison

Instrumentation: Solo violin, reed organ in Pythagorean tuning, 1 percussion, psaltery (alternative: tack piano or harpsichord), 4 mbiras (alternative: harp or marimba).

Movements: (1) Allegro vigoroso (2) Largo (3) Allegro moderato

Dates: 1967, revised 1969

Premiere: May 1, 1967, San Jose State University, San Jose, CA: Gary Beswick, violin.

Publisher: Peer 1972

Length: 10.5 minutes

Notes: For Gary Beswick.

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12 pages autograph score (ink).

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5 pages autograph sketches (pencil).

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A Phrase for Arion's Leap 1974

Physical Description: 8 pages

Subseries Scope and Content Summary

Instrumentation: 3 ya chengs (bowed psalteries), 2 harps, percussion

Dates: December 15, 1974

Publisher: [West coast] Ear 1 (Berkeley,CA; no date); Xenharmonikon 2 #1 (Spring 1975)

Length: 5 minutes

Notes: In Free Style. For Charles Shere.

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Folio, 4 pages. 1 page autograph score.

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Folio, 4 pages. 1 page autograph sketches. 2 pages unrelated sketches.

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Suite for Four Haisho 1992

Physical Description: 5 pages

Subseries Scope and Content Summary

Instrumentation: 4 haisho (Japanese panpipes), percussion, narrator

Movements: (1) qu= ca. 60 (2) qu= ca. 104 (3) Slow and free

Dates: Movements I, II: October - November 1992; Movement III: December 22, 1992

Premiere: January 14, 1993

Text: Lou Harrison, "Journeys" ( Reed Magazine, San Jose State University, San Jose, CA; v.47, 1993)

Publisher: Frog Peak

Length: 21 minutes

Notes: Movement II is a kit with 10 phrases for haisho and 10 for percussion that can be rearranged, repeated, or omitted at will. Texts, to be spoken in Noh drama style, inserted between movements.

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Movement I: 1 page autograph score.

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Movement II: 2 pages autograph score.

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Movement III: 2 pages autograph score. Note: 1 page for Haisho solo is marked IIII. All pages numbered consecutively , 1-5.

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Suite for Sangen 1996

Physical Description: pages

Subseries Scope and Content Summary

Instrumentation: Shamisen

Movements: (1) Prelude (2) Estampie (3) Adagio (4) Round

Date: October 31, 1996

Premiere: December 6, 1996

Publisher: Frog Prak

Length: 18.5 minutes

Notes: For Akiko Nishigata.

When Akiko Nishigata came to San Francisco to ask me to compose a work for her for sangen, I was at once delighted and frightened. At first I thought of writing for one or two other instruments along with her own, but then decided to try an outright solo --- a single melody without even "double stops". My memory fetched up hearing the instrument onstage with the marvelous Japanese puppet theater as well as in theater works both in Tokyo and New York. Miss Nishigata sent me splendid recordings of her own wonderful performances on the instrument, along with basic information about tunings, range, and possibilities. Meanwhile the images of long-lutes from elegant old Egyptian paintings, from Persian miniatures and other global sources rose in my mind. Lately I have been fascinated by six-tone modes, and in this suite of four movements, I composed three of the movements in six-toned modes, the remaining section being chromatic and aria-like over drones on the open strings of the sangen. The second movement I wrote in the form of an estampie, the medieval instrumental, or even dance form, of which I am very fond. The adagio, which follows, is the chromatic piece that allows the melody to move by only three intervals, the minor second, the major third, and the perfect fifth. The work opens with a free=form prelude, and concludes with a dance-like and cheerful allegro.

Lou Harrison

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Movement I: 1 page autograph sketches.

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Movement II: 1 pages autograph sketches.

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Movement III: 2 pages autograph score.

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Movement IV: 5 pages autograph sketches and copy of autograph score.

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8. Keyboard 1934-1996

Physical Description: 23 titles

Series Scope and Content Summary

This series contains works listed for "Piano" and "Other" including organ, cembalo, and harpsichord.

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Six Sonatas for Cembalo 1934-43

Physical Description: 29 pages

Subseries Scope and Content Summary

Along with my Mass and one or two other works, my Six Sonatas for Cembalo are Mission-style pieces. They were directly stimulated by my studies about and feelings for the land, peoples, and history of California. Indeed, they are part of the "Regionalist" school of thought that was so prevalent and, for a young person, stimulating in the 1930s. These Six Sonatas reflect the romance and geometry of impassioned Spain, as well as the pastoral Indian imagery of native America in its Western life. The artistic model was, of course, Scarlatti and Manuel de Falla. The collection was first published by Henry Cowell's wondrous New Music Edition. Either in part or entire these sonatas have been played by Sylvia Marlowe, Ralph Kirkpatrick, and a number of other harpsichordists including Linda Burman-Hall who has recorded them on a Musical Heritage Society CD.

--Lou Harrison

Instrumentation: Harpsichord or piano

Movements: (1) Moderato (2) Allegro (3) Moderato (4) Allegro (5) Moderato (6) Allegro

Dates: Begun 1934, completed 1943

Premiere: Of the entire set: January 24, 1944, Evenings on the Roof, Los Angeles, CA: Frances Mullen

Publisher: New Music Quarterly XVII/1, October 1943; new edition (with suggested ornamentation by Susan Summerfield): Peer, 1990

Length: 29 minutes

Notes: Sonata I used for Esther Ballou, Variations, Scherzo and Fugue on a Theme by Lou Harrison, 1959.

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Folio, 16 pages. Original publication of New Music Quarterly, October 1943 (copy of autograph) inscribed to family for Christmas. 1944

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11 pages, autograph score in ink. ca. 1990

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2 pages, autograph sketches for preparation.

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Ground in E Minor 1936

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Date: September 5, 1936; revised 1970

Publisher: Unpublished manuscript

Length: 2 minutes

Cross References: Revised and used as A Summerfield Set, Movement II (1988).

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Folio, 4 pages. 2 pages autograph score, 1936, with revision markings. 1970

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Large Ostinato 1937

Physical Description: 8 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Dates: January 15, 1937; revised 1970

Publisher: Unpublished manuscript

Length: 4.5 minutes

Notes: Original manuscript says "piano or orchestra" but there is no orchestration from this period.

For John Dobson.

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Folio, 4 pages. 3 pages autograph score, including title page, 1937, with later pencil revisions. ca. 1970

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4 pages autograph revised score. ca. 1970

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Prelude for Grandpiano 1937

Physical Description: 12 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Date: Completed September 16, 1937

Publisher: New Music Quarterly XI/4, July 1938

Length: 6.5 minutes

Notes: For Henry Cowell

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Folio, 12 pages. Original publication, New Music Quarterly 1938, inscribed "For Mother because of everything". 1938

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Saraband 1937

Physical Description: 12 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Date: Completed May 24, 1937

Publisher: New Music Quarterly, XI/4, July 1938

Length: 4 minutes

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Folio, 12 pages. Original publication, New Music Quarterly, inscribed to "For Mother because of everything". 1938

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Third Piano Sonata 1938

Physical Description: 26 pages

Subseries Scope and Content Summary

My Third Piano Sonata was composed in San Francisco in 1938. I edited the work in 1970. Technically, it expounds a method of composing which I have used many, many times. I separate out, say, three intervals, and compose the melodies using only those three intervals. I may also select three other intervals (the remaining ones if you consider there are really only six, all the others being inversions) and use the latter for harmonic purposes. The result in this sonata is a continuous fabric of minor seconds and major thirds in the melody and major seconds and fourths in the chords. The chords are thick in the second movement, and I described it as "fistfuls of notes". The first movement is declamatory in style, the second fast and excited, and the last movement a valedictory in nature.

Lou Harrison

Instrumentation: Piano

Movements: (1) Slowish and singing (2) Fast and rugged (3) Very slow, very singing and solemn

Dates: 1938; edited December 3, 1970

Premiere: Radio performance, 1938: Lou Harrison

Publisher: Frog Peak

Length: 10.5 minutes

Notes: For Douglas Thompson.

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Folio, 18 pages. 15 pages autograph score/sketches, pencil. ca. 1938

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8 pages autograph score, ink.

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Reel to Henry Cowell (Reel: Homage to Henry Cowell) 1939

Physical Description: 8 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Dates: 1939

Publisher: 12 x 11: Piano Music in Twentieth Century America, Maurice Hinson, Editor (Chapel Hill: Hinshaw Music, 1979)

Length: 4 minutes

Cross References: Revised and orchestrated for use as Third Symphony, Movement IIa (1982). Also related to "Polka" from Grand Duo (1988)

Notes: Von Gunden, Music of Lou Harrison, gives 1936 for this work, based on Neil Rutman's thesis. However, the date of 1939 appears on the manuscript and is also given in Leslie Celso's San Jose State University master's thesis on the piano music, prepared under the composer's supervision.

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4 pages, copy of autograph with sparse revision markings. ca. 1982

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4 pages, copy of published score with orchestration markings. ca. 1982

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Suite for Piano 1943

Physical Description: 21 pages

Subseries Scope and Content Summary

In 1942-43 I was working as a musician and teacher in the Dance Department of the University of California at Los Angeles and had indeed gone there in hopes that I might study, even a little, with Schoenberg. It proved that he was conducting a small seminar on one afternoon each week. I gathered up my courage and applied to his then assistant, Harold Halma, who took me directly to Schoenberg in his study. He had evidently been in deep concentration, and must have been startled, for he physically twitched during the introduction. I was relieved, though, to be accepted. I was told that he refused to examine any work in "12-tone technique". Firstly, then, I took my Saraband and also my Prelude for Grand Piano and played those for him. He said, in obvious pleasure, "This is music I understand," and, turning, asked my fellow seminarians, "Why do you not bring to me such music?" Meanwhile, I had been introduced by the lovely dancer Melissa Blake to Peter Yates and his wife, Frances Mullen. We shared intently many musical pleasures and, upon discovering that Frances Mullen was a fine concert pianist and sympathetic to new music, I began to concentrate on this Suite for Piano, to give her. I had composed much of it, and then found that I was composing myself into a corner in III, the Conductus. Emboldened by Schoenberg's own kindnesses, I arrived one afternoon with the work. I supposed that, for my bringing in a 12-tone work he might throw the three or four of us "out" permanently (as I was told he had done once or twice before in exasperation) - or that he might throw out at least me. I played the Prelude. There was a rather long silence, and then he asked me, thoughtfully, "Is it a 12-tone?" I simply said, "Yes." he reached for the page, saying, "It is good! It is good!" (What a relief! I was not going to be thrown out! ) He asked me to continue, and I played Movement II. Again, "It is good! It is good!" He seemed fascinated by the very wide soft spacing in measures 4-8. By the time I had played to the point of my blockage in Movement III, he plunged directly in, already aware of my structure, and, with splendid illuminating instructions, permanently disposed of for me not only that particular difficulty but also any of the kind that I might ever encounter. Many years ago I wrote a sentence, in a paper for the East-West Music Encounter in Tokyo, which suggests something of what I felt he was telling me about: "... that deft, light musicality which to us (as musicians) is the very happiest conjunction of our intellect and senses."

If, as I sometimes suspect, I was being "spoofed" about Arnold Schoenberg's patience, then I am nonetheless grateful for that, too, for obvious reasons. He was a lovely and delicate man, very nervous when airplanes flew over U.C.L.A.; who once hushed us, too, in order to hear a bird outside. There was more, and much of musical interest. When I was about to leave for New York, he asked me why I was going there and I replied that I did not really know. "I know why you are going," he said. " You are going for fame and fortune. Good luck! And, do not study anymore - only Mozart!"

Lou Harrison

Instrumentation: Piano

Movements: (1) Prelude (2) Aria (3) Conductus (4) Interlude (5) Rondo

Date: May 1943

Premiere: May 8, 1944: Evenings on the Roof, Los Angeles, CA: Frances Mullen.

Publisher: Peters, 1964

Length: 16.5 minutes

Notes: For Frances Mullen Yates

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21 pages accordion fold copy of autograph score. There are slight autograph markings/revisions in Movement III.

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Serenade in C 1944

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: (a) piano (b) woodwind quintet (arranged Robert Hughes)

Dates: 1944 (Woodwinds arranged 1962)

Premiere: (a) Never performed (b) April 15, 1962, Sticky Wicket, Aptos, CA: Robert Hughes and ensemble.

Publisher: Version b: Frog Peak

box-folder 16:21

Folio, 4 pages. 2 pages autograph score. Inscribed "For Sonia's Birthday 1944, with love, Lou". 1944

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A 12-Tone Morning After to Amuse Henry ca. 1944-45

Physical Description: 5 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Dates: ca. 1944-45

Premiere: March 25, 1997, 92nd St. 'Y' (Young Men's & Women's Hebrew Association), New York, NY: Michael Barrett

Publisher: Frog Peak

Length: ca. 2 minutes

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4 pages. 2 pages autograph score with note to Henry Cowell.

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1 page with partial "Row Chart" and some unrelated sketches.

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New York Waltzes 1944-51

Physical Description: 8 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Movements: (1) Waltz in C (2) Hesitation Waltz (3) Waltz in A

Dates: (1) September 16, 1945 (2) Fall 1951 (3) September 14, 1944

Premiere: October 22, 1994, Cabrillo College, Aptos, CA: Michael Boriskin.

Publisher: Frog Peak

Length: 4 minutes

Notes: For Edward McGowan.

box-folder 16:23

4 pages autograph.

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Waltz in C, 1 page autograph score.

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Hesitation Waltz, 1 page autograph score.

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Waltz in A, 1 page autograph score.

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1 page unrelated sketch.

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Folio, 4 pages. 2 pages autograph score in ink. ca. 1994

box-folder 16:24

Two Unused Pieces for Jose Limón 1945

Physical Description: 9 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Movements: (1) Polka (2) Allegro alla Jarabe

Date: December 6, 1945

Premiere: Scheduled April 28, 1997, Lincoln Center for the Performing Arts, New York, NY: Michael Boriskin.

Publisher: Frog Peak

Length: 5 minutes

Notes: These 2 movements were originally Movements V-VI of a longer composition; other movements are lost.

box-folder 16:24

Polka: Folio, 4 pages. 2 pages autograph.

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1 page photocopy with slight revisions in red ink.

box-folder 16:24

Jarabe: Folio, 4 pages. 2 pages autograph score.

box-folder 16:25

Triphony 1945

Physical Description: 7 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Date: December 6,1945 William Masselos, date unknown

Publisher: Peters

Length: 4.5 minutes

Cross References: Arranged as String Trio (1946). Revised and used in Suite for Symphony Strings , Movement V (1960).

Notes: See also Series 2: Notebooks - notebook no. 53 and notebook in file for Alleluia (Chamber Orchestra) which includes autograph sketches for Triphony.

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5 pages copy of autograph score ca. 1945

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2 pages autograph score ca. 1994

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Praises for Michael the Archangel 1946

Physical Description: 1 score and 5 pages

Subseries Scope and Content Summary

Instrumentation: Organ

Date: Begun January 1946; completed January 15, 1947

Publisher: Score - Music in the United States of America; Lou Harrison: Keyboard and Chamber Music, 1937-1944, Leta Miller, editor

Length: 7 minutes

Cross References: Revised for use in Elegiac Symphony, Movement IV (1975)

box-folder 16:26

Copy of autograph score.

box-folder 16:26

Folio, 4 pages. 3 pages autograph sketches.

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1 page related sketches.

box-folder 16:27

Homage to Milhaud 1948

Physical Description: 1 page

Subseries Scope and Content Summary

Instrumentation: Piano

Date: September 31, 1948

Publisher: 12 x 11: Piano Music in Twentieth Century America, Maurice Hinson, Editor (Chapel Hill: Hinshaw Music, 1979)

Length: 5 minutes

box-folder 16:27

1 page, copy of autograph score with autograph signature.

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Little Suite for Piano 1949

Physical Description: 7 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Movements: (1) Pastorale (2) Quadrille (3) Chorale

Date: November 8, 1949

Publisher: E.B. Marks, American Composers of Today, 1965

Length: 2.5 minutes

Notes: For Remy Charlip

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4 pages. 3 pages autograph sketches. ca. 1949

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3 pages autograph score in ink. ca. 1949

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Double Canon for Carl Ruggles 1951

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Date: 1951

Publisher: Unpublished

Length: 1.5 minutes

Cross References: Revised and used in Concert for Organ with Percussion Orchestra, Movement II (1973)

box-folder 16:29

Folio, 4 pages. 3 pages, autograph score with revisions in pencil ca. 1951

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Festival Dance 1951

Physical Description: 12 pages

Subseries Scope and Content Summary

Instrumentation: 2 pianos

Dates: 1951, revised 1996

Premiere: March 18, 1997, Cooper Union College, New York, NY: Aki Takahashi, Sarah Cahill

Publisher: Unpublished

box-folder 16:30

4 pages autograph score in ink. 1951

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8 pages, blueprint copies of autograph with sparse notes by composer. 1951

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4 pages photocopy of autograph with revisions. 1996

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Fugue for David Tudor 1952

Physical Description: 4 pages

Subseries Scope and Content Summary

Instrumentation: Piano

Dates: Begun 1947; completed 1952

Premiere: February 10, 1952, Cherry Lane Theater, New York, N.Y.: David Tudor

Publisher: Unpublished

Length: 3.5 minutes

Cross References: Orchestra for Suite for Symphony Strings, Movement VII (1960)

box-folder 16:31

4 pages, copy of autograph score

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A Summerfield Set 1988

Physical Description: 11 pages

Subseries Scope and Content Summary

My friend Susan Summerfield offered to play a new work in a concert at Mills College. It was to be realized by almost any combination of two harpsichords and/or two organs played by two musicians. I chose to write in such a way that the score could be played in a number of different ways. The first movement developed from my love for the beautiful Hymn to Venus which opens Lucretius' De Rarumm Naturum. The image of an exhausted and tortured Lord of War seeking sympathy and solace from the Lady of Love is the basis of the movement. The Ground which follows evolved over a number of years and has a clear origin in the lovely Ground by Henry Purcell. The Round for the Triumph of Alexander in this quasi-classical context is often assumed to have to do with Alexander the Great. Well, we hope that he will be great for it was written for my namesake Alexander Harrison Summerfield in celebration of his growing up joyously.

Lou Harrison

Instrumentation: Piano or other keyboard instrument

Movements: (1) Sonata (2) Ground (3) Round for the Triumph of Alexander

Dates: Movement I: January 1, 1988; Movement II: September 5, 1936, revised 1970; Movement III: January 12, 1988

Premiere: February 28, 1988, Mills College, Oakland, CA: Susan Summerfield

Publisher: Frog Peak

Length: 11 minutes

Cross References: Movement II revision of Ground in E Minor (1936; revised 1970; further revised for A Summerfield Set)

Notes: For Susan Summerfield

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7 pages autograph score. 1988

box-folder 16:32

1 page autograph, revised version of Ground in E Minor. 1936 1970

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3 pages copies of autograph sketches.

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Pedal Sonata for Organ 1989

Physical Description: 9 pages

Subseries Scope and Content Summary

Instrumentation: Organ (pedals only)

Movements: (1) Chorale (2) As fast as possible (3) Jahla: Fast

Date: February 1989

Premiere: March 17, 1989, Central United Methodist Church, Stockton, CA: Fred Tulan

Publisher: Frog Peak

Length: 7 minutes

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6 pages: 1 page copy of autograph title page. 2 pages autograph score.

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3 pages copy of autograph score.

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Homage to Messaien 1996

Physical Description: 1 page

Subseries Scope and Content Summary

Instrumentation: Organ

Notes: Arrangment of Prelude for Piri and Reed Organ (1962) with added text by Harrison.

box-folder 16:34

1 page autograph score.

box-folder 16:35

Sonata for Harpsichord [Sonata for Keyboard] 1999

Physical Description: 6 pages

Subseries Scope and Content Summary

Instrumentation: Keyboard

Movements: (1) Allegro moderato (2) Adagio (3) Estampie

Date: December 1999

Premiere: December 31, 1999

Publisher: Score: Peer

Notes: For Linda Burman-Hall. See also Ser.2 Notebooks: Notebook #28.

The Sonata for Harpsichord was composed by Harrison for Linda Burman-Hall to play on the eve of year 2000. It offers three contrasting moods based on modal scales: a bustling energetic opening with inner-voice trills, a warmly lyrical central meditation, and a flamenco-tinged "Estampie" dance accented by exuberant cluster chords. Harrison planned the work for the Baroque well-temperament Kirnberger II, which he also used to compose his Concerto for Piano with Selected Orchestra [1985]

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Movement II: 2 pages autograph score.

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Movement III: 4 pages autograph score. 1 page autograph sketches.

box 19

9. Etcetera undated

Physical Description: 43 titles

Series Scope and Content Summary

Sketches, studies, unfinished works, and small pieces gifted to friends. Manuscripts in this series contain unfinished works, sketches, teaching examples and studies. Examples of small gifted pieces include birthday melodies and pastorals. Also within this series are pieces written in collaboration with Bob Hughes that are not included in the Harrison Catalogue and small works by others and gifted to Harrison.

Note: This pieces in this series are arranged alphabetically by title.

box-folder 19:1

3 Hour Sketch for Orchestra, undated

box-folder 19:1

Folio, 8 pages. 5 pages autograph sketches, titled by composer

box-folder 19:2

3 Tone Song, New York undated

Note

Note: "Like a race the negro boy said, and I wasn't sure I heard

What race?

He said it clear, gathering into his attention the auction inside.

The room too hot, the seats theatre soft.

His foot, the instant it crossed the threshold, as his voice, drawing the whites eyes of the silver set New Yorkers, passed along the rows for weight, feel the weight, leading summer idling evening fold to bid up dollar by dollar, I beside him in the door."

box-folder 19:2

1 page autograph score.

box-folder 19:3

12-tone sketch for glockenspiel, celesta, piano, harp, prepared piano undated

box-folder 19:3

1 page autograph sketches with row chart

box-folder 19:4

Academic Waltzes undated

box-folder 19:4

1 page autograph music examples used to teach a class at Black Mountain College

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Allegro Moderato undated

box-folder 19:5

2 pages autograph short-score, 44 measures

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An Aborted Exquisite Corpse undated

box-folder 19:6

Folio 4 pages. 1 page autograph sketches described by Harrison in title.

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2 pages autograph sketches for a Mass.

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1 page unidentified autograph rhythmic structures not in Harrison's hand.

box-folder 19:7

Concerto for Tenor Violin undated

Note

Note:Not authorized for performance.

box-folder 19:7

Folio, 12 pages. 9 pages autograph sketches of incomplete Concerto.

box-folder 19:8

Double Fanfare by Bob Hughes and Charles Shere - For clarinet, viola, cello, bassoon 5/15/1977

Note

Double Fanfare equally distributed among the twelve tones for Lou Harrison

box-folder 19:8

1 page autograph score.

box-folder 19:9

Duet by Jim Cleghorn undated

Note

Note: Cleghorn was a friend of Harrison's in San Francisco, ca. 1935.

box-folder 19:9

1 page autograph score in Cleghorn's hand with note on reverse " Been here and gone, Jim Cleghorn".

box-folder 19:10

Just Intonation Sketches undated

Note

Note: "Sketches toward a large work in Just Intonation"

box-folder 19:10

Folio 15 pages. 8 pages autograph sketches with comment by composer: "The world gets out of touch with me every so often. What does it want? Recognition? If so, it had best begin to behave properly!"

box-folder 19:11

Mass sketch -"Beginning of a Mass in the style of Stravinsky" undated

box-folder 19:11

1 page autograph sketch.

box-folder 19:12

Nocturne undated

box-folder 19:12

2 pages autograph sketches. 1 page titled Nocturne.

box-folder 19:13

Pastoral, Saraband, Pastorale, for Remy Charlip ca. 1951

box-folder 19:13

1 page color photocopy of Pastoral and Saraband with note from Remy Charlip.

box-folder 19:13

1 page aluminum plate etching score of Pastorale to Remy Charlip "for strings preferably viols".

box-folder 19:14

Percussion score 1930-1939

Note

Note: Composer states "... from Percussion Concert at Mills College in 30's?"

box-folder 19:14

Folio, 4 pages. 3 pages autograph score and sketches.

box-folder 19:15

Ritmicas (Homago al Roldan) undated

Note

Note: "Double music by Lou Harrison and Robert Hughes"

box-folder 19:15

3 pages autograph score (incomplete Movement I) in Hughes' hand.

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3 pages autograph score, moderato, in Hughes' hand.

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Folio, 4 pages autograph sketches in Harrison's hand.

box-folder 19:16

Row Charts undated

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2 pages unidentified autograph row charts

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Sample undated

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A sample used for experiment, at Asilomar, in "body sounds" on string instruments, under ASOL sponsorship.

box-folder 19:17

1 page autograph autograph score/sample.

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Seven Tone Sketch - 7-tone = temp. serial piece undated

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1 page autograph sketches and row chart for the beginning of a 7-tone equal temperament serial piece.

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Shining Trumpets by Rudy Blesch undated

Note

Note:Blues and jazz sketches by Harrison used for musical examples in book.

box-folder 19:19

Folio, 4 pages. 2 pages autograph sketches.

box-folder 19:20

Sonata in D undated

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18 pages folio and loose pages. 11 pages autograph sketches for unfinished sonata.

box-folder 19:21

Sunrise Cadenza undated

box-folder 19:21

1 page autograph score.

box-folder 19:22

Three Poems of Lou Harrison (Poems by Lou Harrison, music by Robert Hughes) undated

Note

Instrumentation: Voice and piano.

Movements: I: To Hades; II: To Persephone; III: About Tiresias.

box-folder 19:22

7 pages blueprint copy of autograph score in Hughes' hand.

box-folder 19:23

Happy Birthday Garrick undated

box-folder 19:23

1 page copy of autograph score with note to Julian Beck.

box-folder 19:24

Three short movements for percussion undated

box-folder 19:24

2 pages autograph score (Fast, Slow, Fast).

box-folder 19:25

Ductia for Soprano Recorder undated

box-folder 19:25

1 page autograph score.

box-folder 19:26

"A Cowell Monument" undated

box-folder 19:26

1 page autograph sketches.

box-folder 19:27

Adagio Grande undated

box-folder 19:27

2 pages autograph sketches.

box-folder 19:28

"Agonies over the Bomb" undated

box-folder 19:28

1 page autograph sketches and words.

box-folder 19:29

Air undated

box-folder 19:29

1 page autograph score.

box-folder 19:30

Air by Richard Dee and Mass sketch by Lou Harrison undated

box-folder 19:30

2 pages autograph sketches.

box-folder 19:31

Bode's Law undated

box-folder 19:31

1 page autograph sketches.

box-folder 19:32

Canonic Studies undated

box-folder 19:32

1 page autograph sketches.

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"For a Dance N.Y.C." undated

box-folder 19:33

1 page autograph sketches

box-folder 19:34

Estampie for Serenade undated

box-folder 19:34

1 page autograph sketches.

box-folder 19:35

A Fibonaci Mode/Fogliano, Just Meantone undated

box-folder 19:35

2 pages autograph tuning schema's.

box-folder 19:36

Marcato undated

box-folder 19:36

1 page autograph sketch.

box-folder 19:37

Mbira sketches undated

box-folder 19:37

2 pages autograph sketches.

box-folder 19:38

Moderato undated

box-folder 19:38

3 pages autograph sketches.

box-folder 19:39

Ostinato undated

box-folder 19:39

1 page autograph score.

box-folder 19:40

Ratio sketches undated

box-folder 19:40

2 pages autograph sketches.

box-folder 19:41

Unfinished Song undated

box-folder 19:41

2 pages autograph sketches.

box-folder 19:42

Song sketch undated

box-folder 19:42

1 page autograph sketch.

box-folder 19:43

Fantasia on a Theme by Lou Harrison by Anatole Sipin undated

box-folder 19:43

6 pages copy of autograph score for violin, viola, and cello.

box 20

10. Juvenilia Undated

Physical Description: 33 titles

Series Scope and Content Summary

Harrison's first compositions date from 1927, when he was ten years old. The Elegie was to become the first of many pieces memorializing friends, colleagues and people that were influential ( Threnody to Oliver Daniel, Elegy for Harpo Marx, Homage to Milhaud, In Memory of Victor Jowers, At the Tomb of Charles Ives ... to name a few). This first Elegie was dedicated to Helen Johnson a friend of the Harrison family. Much later in his life, Harrison discovered that he had "got the wrong one". It was Helen's sister who died in 1927.

Harrison became extremely prolific in his years in San Francisco. From 1934 through 1939 there are well over one hundred identified completed works which are housed at Mills College where Harrison worked from 1937 through 1940. The copies of works in this series are meant to be studied as examples of compositional progression and are not authorized for performance.

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Elegie: Dedicated to Helen Johnson undated

box-folder 20:1

2 pages autograph score for piano. Signed "Lou Silver Harrison, 10 years old"

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1 page with title and abstract watercolor

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Sonatina in G minor 1931

box-folder 20:2

Folio, 8 pages. 7 pages autograph score for piano with 1 page "notes"

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Sonata No.I in C January 25, 1932

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Folio, 8 pages. 7 pages autograph score for piano.

box-folder 20:4

Sonatina No. IV in A major 1932

Note

Dates: Completed April 29, 1932; Andante completed May 6, 1932.

box-folder 20:4

2 pages autograph score for piano.

box-folder 20:5

Organ Sonata No.I Opus 1932

box-folder 20:5

Hand bound folio, 12 pages.

box-folder 20:5

2 pages title.

box-folder 20:5

3 pages autograph score (unfinished).

box-folder 20:6

Pianoforte Sonata No. VII Opus - (Sonata No. VII in B flat major) May 14,1932

box-folder 20:6

Hand bound folio, 10 pages. 5 pages autograph score. 1 title page.

box-folder 20:7

Prelude in C No. II/Prelude No. III in A major May 23, 1932

box-folder 20:7

Folio, 4 pages. 2 pages autograph score for piano.

box-folder 20:8

Sonata for Piano May 30, 1932

Note

Note: Harrison titled and signed this work at a much later date ( ca. 1970) in his recognizable calligraphic hand.

box-folder 20:8

Hand bound folio, 14 pages. 9 pages autograph score. 1 title page.

box-folder 20:9

Psalm Sonata in C# minor ca. 1932

box-folder 20:9

Folio, 8 pages. 5 pages autograph score for piano.

box-folder 20:10

Gothic Piece ca. 1934

Note

Instrumentation: Harpsichord

box-folder 20:10

1 page copy of autograph.

box-folder 20:11

Aubade for Gabriel 1935-36

Note

Instrumentation: Percussion, Strings, and Voices

box-folder 20:11

Collection Contents