Inventory of the Charles Koechlin manuscripts, 1905-1945
Processed by Robert Orledge; machine-readable finding aid created
by Xiuzhi Zhou
240 Morrison Hall
University of California, Berkeley
Berkeley, California, 94720-6000
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The Regents of the University of California. All rights reserved.
Inventory of the Charles Koechlin Manuscripts, 1905-1945
Collection number: ARCHIVES KOECHLIN 1
The Music Library
University of California, Berkeley Berkeley, California
- Music Library
- 240 Morrison Hall
- University of California, Berkeley
- Berkeley, California, 94720-6000
- Phone: (510) 642-2623
- Fax: (510) 642-8237
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- URL: http://www.lib.berkeley.edu/MUSI/
- Processed by:
- Robert Orledge
- Date Completed:
- ca. 1986
- Encoded by:
- Xiuzhi Zhou
© 1999 The Regents of the University of California. All rights reserved.
Title: Charles Koechlin Manuscripts
Date (inclusive): 1905-1945
Collection number: ARCHIVES KOECHLIN 1
Koechlin, Charles, 1867-1950
Extent: Number of containers: 6 boxes
Berkeley, California 94720-6000
Shelf location: For current information on the location of
these materials, please consult the Library's online catalog.
From the estate of Charles Shatto, received in the spring of 1983. See also the
collections in this catalog under Charles Shatto and Catherine Urner.
Collection is open for research.
All requests for permission to publish or quote from manuscripts must be submitted in
writing to the Head of the Music Library.
[Identification of item], Charles Koechlin manuscripts, ARCHIVES KOECHLIN 1, The Music
Library, University of California, Berkeley.
This inventory was compiled by Professor Robert Orledge, Department of Music,University
of Liverpool, Liverpool, England. This inventory forms part of an unpublished article by
Professor Orledge, and he retains full rights to this inventory. If publication of data
from this inventory is contemplated, permisssion must be received directly from Professor
Orledge. John A. Emerson, September 26, 1986.
Following the death of Charles Shatto on New Year's Day 1983, the UCB inherited a large
collection of manuscripts by Shatto himself, his wife Catherine Urner (1891-1942), and
their principal composition teacher, Charles Koechlin (1867-1950). The manuscripts by
Shatto and Urner were catalogued by David Zea in 1977, and it has been my privelege to be
entrusted with the preparation of a full inventory of the Koechlin manuscripts, in which
task I was greatly assisted by the preliminary classification made by John Emerson of the
UCB Music Library.
Catherine Urner was recommended to Koechlin by her harmony teacher at Berkeley, William
MacCoy, at a Christmas dinner in San Francisco on 19 December 1918 during Koechlin's
first American tour (as the musical representative on a French cultural mission headed by
During her postgraduate studies at UCB, Catherine had shown considerable promise
as a composer, and she was the first person to win the coveted George Ladd Prix de Paris
for 1920-1 which enabled her to travel to France and receive regular lessons from
Koechlin. She returned to Paris to study with Koechlin for four futher periods: December
1922 to July 1923, June 1924 to June 1925, November 1928 to April 1929, and from August
1929 to June 1933, when she lived
as part of
the Koechlin household. In the interim periods the lessons continued by post and Koechlin
began sending Catherine examples of his work in progress (all hand-copied) which form the
basis of this important archive.
In return, Catherine was instrumental in arranging Koechlin's three teaching visits to
the USA: May to October 1928 (Berkeley), June to August 1929 (when Koechlin won the
Hollywood Bowl prize for his symphonic poem
La joie païenne
(Op. 46 no.
5)), and late July to late September 1937 (when Koechlin gave lessons at Urner's studio
in San Diego,wrote a great deal of music, and gave lectures in Montreal and Quebec on his
way back to France). Shortly after this, with Koechlin's encouragement, Catherine married
the young organist and composer Charles Shatto on 10 October 1937, both of them sharing a
love of their teacher's music. However, their happiness was cut tragically short when
Catherine was killed in a car crash in San Diego on 30 April 1942. Due to the vagaries of
the wartime mail service, Koechlin only learnt the sad news in a letter from Darius
Milhaud written on 21 March 1945,
and as a touching tribute to his favourite American pupil he
for piano (1929) in early November
1945 (see MSS ii and 134-5).
Koechlin and Catherine Urner were kindred spirits in their undogmatic approach to music,
and their belief that true artisitic independence could only be acchieved in composition
by maintaining the delicate balance between liberty and discipline. They shared a total
devotion to their art in the face of a general lack of recognition and its concomitant
state of financial hardship. Koechlin's solution to this situation after 1925 was to turn
increasingly towards pedagogic and teaching activities, which accounts for the large numbers of
chorale realisations in the UCB collection (see MSS 93-120), though he placed these on a
par with ostensibly more significant compositions like the contemporaray symphonic poem
La course de printemps (Op. 95). The overall direction taken by Koechlin's
music in this period was towards textural clarification, order and increased contrapuntal
strength, ultimately leading to the concentration of his musical thought into a single
melodic line (or monody) in the 1940s. In this process Catherine Urner acted as a
catalyst, for Koechlin recognised her melodic gift from the start and saw his role as
developing her harmonic and contraptual skills. But what began as a teacher-pupil
relationship, with Koechlin writing themes for Urner to harmonise (as well as doing so
himself), soon developed into a beneficial artisitic cross-fertilisation founded in deep
mutual respect. Indeed, between the summer of 1928 and February 1934, no less than 14 of
Koechlin's compositions between Opp. 102 and 137 included themes by Catherine, and the
process only ended with the fourth movement of Koechlin's Second Symphony,
modale (sur un sujet de Catherine Urner)
in 1943-4 (op. 196). Whilst there are,
surprisingly, no manuscripts of their first major collaboration, a symphonic poem based
on a Hindu legend entitled
The Bride of a God (Op. 106, 1929), both short
and full scores of
Sur les flots lointains (op. 130) of 1933 figure as
important items in the UCB collection (MSS 12-13). As always, Catherine provided the
thematic outline; Koechlin the remainder.
1. For an excellent
survey of Koechlin's visits to America, see Elise Kuhl Kirk: A Parisian in America: the
lectures and legacies of Charles Koechlin,'
Current Musicology, no. 25 (1978), 50-68.
2. The extensive correspondence between Urner and Koechlin (1919-41),
together with Milhaud's letters relating to them, can be consulted by contacting Madeline
Li-Koechlin, the composer's daughter, at 121 rue de Chalias, 94240 L'Hay-les-Roses,
Scope and Content
In the following inventory, I have divided the manuscripts into three sections:
- 1. 138 autograph manuscripts by Koechlin (1905-1945) plus one letter to Charles
Shatto of 15 March 1946 (MS 139). Of these, only MSS 14 & 134-8 are not Koechlin's own
- 2. Music by Koechlin copied by Catherine Urner. These
compositions (dating form 1895 to 1935) are numbered from I to XII.
Manuscripts by other composers (1929-35), notably Catherine Urner, Ernest Le Grand and
Jeanne Herscher-Clément. These are numbered from i to xiv.
The original manuscripts in section 1 are fully representative of Koechlin's musical
activities in the 1930s. They include film music compositions (like the
(Op. 163, MSS 68-77) and the
Épitaphe de Jean Harlow(Op. 164, MSS 78-9)); symphonic poems (like
La méditation de Purun
at a critical stage in its evolution in mid-August 1936 (Op. 159, MS 54));
chamber music (like the
Septuor à vent (Opp. 165 and 165bis, MSS
80-92)); as well as choral works (like
Liberté (Op. 158, MS 53) and
Requiem des pauvres bougres (Op. 161, MSS 55, 62-6)) and many other
smaller pieces. There are compositions that can be found in no other source, as with the
Pastorale of 15 Dec 1924 (MS 7) - an unused movement intended for
Trio d'anches (Op. 92), or the beautiful
Chant du matin
of 15 August 1939 (MS 124) - inspired by fine weather and the sound of bells from
the church of St Étienne du Mont' near Koechlin's Paris home in the rue des
Boulangers. This last is one of several important manuscripts (1924-32) from the wartime
gap in Koechlin's opus numbers between Op. 176 (August 1939) and Op. 177 (November 1941),
which alone would be sufficient to make the UCB collection one which no scholar of
Koechlin's music could afford to ignore.
As well as full scores and piano reductons of major works sent to Catherine Urners in
this remarkable display of artistic friendship, there are many final sketches for
important compositions which contain unique evidence as to their gestation and
intentions. For example, MS 11, thanks to Koechlin's copious dating, traces the evolution
of the 12-movement piano suite
L'ancienne maison de campagne
over a decade (1923-1933),
whilst MSS 23-4
and 29 are the only dated sources of three pieces within Koechlin's 1934 film score
Les confidences d'un joueur de clarinette
(Op. 141 nos 14-16), with no. 15
(MS 23) containing extra scenic directions found in no other score. The same is true of
Le voyage chimérique
(Op. 149 no. 5, MS 34), and the dedication to
Catherine on the very first of Koechlin's 113 shorter film compositions
Op. 139 no.1, MS 16) suggests that it was his reminiscences of
American life in her company in 1928-9 which again sparked off an important aand fruitful
chain of events in his compositional career.
Of equal importance is the way that one can trace every stage of Koechlin's complex
compositional process by means of the UCB collection. Koechlin usually proceeded by what
he described as a 'series of successive approximations', working on individual pieces over
quite long periods, but keepng several pieces in train simultaneously. In the case of
major symphonic works, he would begin with purely rythmic sketches - like those for
(Op. 176) in MS 123. Then, like Berlioz, he would write a
complete melodic line (or
which remained unaltered as successive
layers of the composition were added in various stages. In less complex pieces the
process only involved two stages,
and realisation (which involved
the addition of harmonies and a textural accompaniment). The sketches for the
chants pour flûte et piano
(Op. 157bis, MSS 47-52) show that these separate
stages could be separated by as much as 17 months (in this case, April 1936 to September
1937). Then, again for more complex pieces, Koechlin kept recopying his earlier work and
adding further details at each stage, often concentrating on the ending, which invariably
caused him as much difficulty as the rest of the piece. The advanced sketch, mentioned
earlier, for Op. 159 (MS 54) is complete apart from its ending, and the sort of problems
he encountered can be seen in
La danse sous les étoiles
no. 4, MSS 75-7), inspired by Ginger Rogers' performance in the film
(1936). Then Koechlin copied out a penultimate version (
avant le net,
or a manuscript which would serve as a piano reduction), to which
he added details of the final instrumentation, often note by note, as in MS 4 for the
Hymne à la vie
(Op. 69). Then (sometimes) he made sketches in full
score of difficult orchestral passages, again as in the
Hymne à la vie
(MS 5). Then finally, he prepared a defininitive orchestral score, as with
Sur les flots lointains
(Op. 130, MS 13).
In general, I have classified Koechlin's manuscripts chronologically by their earliest
dates, so that, by and large, they also follow a course of consecutive opus numbers.
However, this does not mean that the ordering here always follows the dates at which each
manuscript was writen out or recopied, as Koechlin meticulously recorded the dates of
compositional stages on each manuscript. But the
actual dates of writing out can usually be ascertained from the final dates in columns 1
and 3 of the following list. Thus, column 1 gives the range of dates covered by each
manuscript; column 2 gives the number of pages of music in each manuscript;
whilst column 3 identifies each work
and gives a brief description of the contents of the manuscript, together with more
detailed dates of composition and any other relevant information. Beause Koechlin worked
on several pieces simultaneously, a particular problem arose in the prolific years
1936-7, and for reasons of clarity I have classifed the manuscripts of Opp. 160, 161,
163, 164, 165 and 165bis in groups by opus number (MSS 56-92), though even here (as in
Op. 160 or Op. 165) it can easily be seen that Koechlin did not compose his larger works
in their final performing orders.
As this inventory was intended for publication in
Notes, I have kept it as
succint as possible. For reasons of space, most of the very large number of teaching
exercizes (without opus number) in the Shatto-Urner collection will need to be classified
separately on a later occasion. As everything associated with Koechlin proliferates and
complicates, there will doubtless be some omissions in such a concentrated list; for
these I apologise in advance, and, as always, I welcome suggestions or corrections from
Library sigla used below:
Paris, Bibliothhque Nationale, Dipartment de la Musique
Paris, archives of Max Eschig et Cie, 48 rue de Rome,Paris 8
Paris, private collection of Yves Koechlin, 26 rue des Boulangers, Paris 5
Berkeley, University of California, Music Library
realisation (harmonisation, addition of textural accompaniment)
Other abbreviations are as in
The New Grove Dictionary of Music and Musicians (ed. Stanley Sadie), (London, Macmillan, 1980).
manuscript is especially valuable as the final printer's copy made for Éditions
Oiseau-Lyre in 1937 has since disappeared (as far as is known).
4. It need hardly be said that this process forms a fasciniating
study in itself, and is one which I explore in detail in my forthcoming life and works
study of Koechlin, due to appear in two volumes with Toccata Press, London in 1985-6. It
is particularly interesting to trace the evolution of the
Danses pour Ginger
(Op. 163) from an idea jotted down in a square in Geneva on 13August
1936 (MS 68) through to the final sketches for each of the five dances nearly a year
later (MSS 62, 69-77). Also, see MS 62 for an example of Koechlin's later practice of
constructing smaller pieces from a series of numbered musical cells, and MS 67
5. This was the only method I could adopt in
working from xerox copies of the original manuscripts in Liverpool, and it also meant
that I was unfortunately unable to distinguish between the uses of ink, pencil and crayon
in these manuscripts. Most, however seem to have been written in black ink, often with
later additions and corrections in pencil.
Title: Charles Shatto collection
Identifier/Call Number: (ARCHIVES SHATTO 1)
Title: Catherine Murphy Urner collection
Identifier/Call Number: (ARCHIVES URNER 1)
List of Contents
Section 1. Autographed Manuscripts by Koechlin (1905-45)
Box 1. , Folder 1.
Mss No: 1
1905-24 June 1907
Op. 31 no. 3:
L'lle ancienne (Albert Samain). Vocal score (torn in half) for Mez or S and pf. A working MS (here described as Op. 31 no. 1) with many differences
from the version pubd in Koechlin's 4th vol. of Mélodies (Paris, Philippo, n.d.), pp. 5-10. MS recop. 4 March 1907, rev. (in
pencil) 24 June 1907.
Mss No: 2
28-9 Sept 1916 and 17 May 1931 (no. 4)
Cinq mélodies sur des poèmes de Shéhérezade de Tristan Klingsor (1
Vocal scores of complete cycle (advanced working MSS).
no. 1: 'Chanson d'Engaddi', for T or S and pf. 6 pp., n.d.
no. 2: 'Paysage', for S, opt. cl and pf. 3 pp., recop. 28 Sept 1961.
no. 3: 'La rose du rameau sec', for B and pf. 5 pp., n.d.
no. 4: 'La niege', for T or S anf pf. 3 pp., recop. 29 Sept 1916, rev. ending dated 17 May 1931.
no. 5: 'Le ventre mereilleux', for T or S and pf. 12 pp., n.d.
Mss No: 3
1918; [? recop. Dec 1933]
Op. 68 no 1: Hymne à Vénus (Villiers de l'Isle-Adam). Vocal score (neat final version) for S and pf. See section 2, MS III.
n.d., but probably recop. in Dec 1933.
Mss No: 4
[1918-19; ? recop. 1936]
Hymne à la vie, as used in the final movt of the
Symphonie d'hymnes (no op. no., 1936). Vocal score for contralto solo, double choir and pf red. (with orch. indications). For full score, see
F-Pn MS 15507, or
F-Peschig MS 1165. Also, see MSS 5 and 10.
Pages: 50 pages (Plus title page)
In 1918-19 the Hy
mne à la vie was intended to be the finale of a
Les saisons (Opp. 30, 47, 48 and 69). The S
ymphonie d'hymnesof 1936 consisted of Opp. 127, 48 no. 1, 110, 148 and 69
Mss No: 5
[1918-19; ? recop. 1936]
Hymne à la vie, as used in the final movt of the
Symphonie d'hymne (1936). Orch. sketch of difficult passages from figs. 6-9 (5 pp.), figs 26-7 (1 p.), 5 bars after fig. 35 to fig. 37 (3 pp.).
See MS 4.
Mss No: 6
2-3 August 1923
Huit mélodies (2
de serie) sur la Shéhérazade (36) de Tristan Klingsor.
Final version vocal scores of complete cycle.
no. 1: 'Dédicace', fm for S or T and pf. 8 pp., n.d.
no. 2: 'Le voyage' for S and pf. 4 pp., n.d.
Stamped 'La Revue Musicale', this was probably the copy used when 'Le voyage' was printed
as the musical supplement to the issue of April 1931. In the MS (p. 1) Koechlin indicates
that 'This poem, in the book of
Shéhérazade, follows 'Asie'
which was aet to music by Ravel - the first bar here taking over where 'Asie' left off.'
no. 3: 'Le potier', for S or T and pf. 3 pp., n.d. Plus item 3a: vocal part. 2 pp., n.d.
no. 4: 'Chanson des beaux amants', for T and pf. 7 pp., rev. and recop. 3 Aug 1923
no. 5: 'Chanson de flûte', for S and pf. 2 pp., rev. and recop. 2-3 Aug 1923.
no. 6: 'L'oiseau en cage', for S or T and pf. 2 pp., recop. 2 Aug 1923.
no. 7: 'Offrande', for S or T and pf. 4 pp., n.d.
no. 8: 'La chanson d'Ishak de Mossoul', for S and pf. 4 pp., n.d. See Section 2, MS VII.
Mss No: 7
15 Dec 1924
No op. no.
Pastorale for fl, cl and bn. Neat short score with instrumental indications. Rev. and recop. 15 Dec 1924.
A complete (unused) movt in F major, probably intended for the
Trio d'anches (Op. 92),
either as an extra third movement, or as an alternative to the existing fugal finale
Mss No: 8
21 July 1926
No on no.
Choral (no. 96, Bach, Édit. Kufferath) Short score of Koechlin's harmonisation, dated Villers, 21 July 1926.
Possibly intended to be classed with the 8 chorales (Op. 96) of 1925-6, although these
all used melodies by Koechlin
Mss No: 9
7-8 July 1928
Op. 103: Chorale in B flat major. Working MS, dated (p. 2): theme by Catherine Urner, 7 July 1928, realis. by Koechlin, 8
Mss No: 10
[Sept 1929; ? Aug 1932 or 1936]
Hymne au jour, as used in the
Symphonie d'hymnes (1936). Pf duet reduction with instrumental indications.
Pages: 10 pages (plus title page)
Op. 110 began as a
Hymne for ondes martenot and orch. in 1929, and this MS
may date from mid-Aug 1932 when Koechlin orchestrated it. However, the MS is headed 'no.
II de la Symphonie d'hymnes', a work compiled in 1936 from Opp. 127, 48 no. 1, 110, 148
and 69 (showing Koechlin's typical later adjustment of the movt order). See MSS 4-5.
Mss No: 11
1 Aug 1923 -26 Aug 1933 (mostly 1932-3
L'ancienne maison de campagne for pf. Advanced working MSS for the complete suite.
Pages: 60 pages (plus title page)
no. 1: 'L'accueil de la maison' (originally 'Bienvenue aux hôtes'), 3 pp. Theme 10 Sept 1932, realis. 11-12 Dec. 1932, recop.
15 Dec 1932.
no. 2: 'D'un vieil album'
(i) 'Les fiancés de 1830', 4 pp. First sketch 1 Aug 1923, rev. and realis. 24 Oct 1931, rev. 17 Nov 1931 and 2 June 1933,
recop. and 3 June 1933.
(ii) 'Reliques de deuil', 2 pp. 17 Aug 1923, rev. and recop. 15 Dec 1932.
no. 3: 'Les collines, et la vie tranquille' (originally 'Les collines paisibles'), 2 pp. Oakland 10 June 1928 (evening), realis.
15 Dec 1932, rev. 10 Jan 1933.
no. 4: 'La leçon de piano', 2 pp. 15 Dec 1932, based on sketches from 9 Oct 1931, rev. 10 Jan 1933.
no. 5: 'La terrasse Louis XV, au dessus du lac', 2 pp. 15 Dec 1932, based on a sketch of 1926 originally written for no. 2
no. 6: 'La vieille fontaine', 4 pp. 4 Jan 1933, rev. 10 Jan 1933, rev. and recop. 3 June 1933.
no. 6: Second version with revised ending (as in Oiseau- Lyre printed version, 1937) to make a better lead into no. 7, 4 pp.
recop. 6 July 1933, ending rev. 25-6 Aug 1933.
no. 6: Rough preliminary sketch, n.d., but perhaps 4 Jan 1933. 1 p. (recto). On verso is a copy of bars 1-9 of Albert Roussel's
Le bachelier de Salamanque (Op. 20 no. 1, 1919). Words by René Chalupt.
no. 7: 'Jeux' (based on a theme by Koechlin's son Yves of 23 July 1926), 5 pp. 4 Jan 1933, rev. 10 Jan 1933, rev. and recop.
2-3 June 1933.
no. 8: 'En ramant, sur le lac' (originally 'En bateau, sur le lac'), 4 pp. 4 Jan 1933, rev. 2 June, recop. 3 June 1933.
no. 8: Second version, 5 pp. Recop. 6 July 1933.
no. 9: 'Matin dans le bois - Courses dans la jungle', 6 pp. Sketched 4 Jan 1933, rev. 2 June, completed 1 July 1933.
no. 9: Second version, 6 pp. [1 July 1933].
no. 10: 'La veille du départ', 5 pp. 3 Jan 1933, rev. 10 Jan 1933.
no. 11: 'Au Parc Monceaux (Octobre 1882)' (originally 'Promenade au Parc Monceaux (Novembre)', final printed title 'Promenade
d'automne'), 3 pp. Sketched 15 Dec 1932. Sketched 15 Dec 1932 and 3 Jan 1933, recop. 4 Jan 1933, rev. 1 July 1933, recop.
6 July 1933.
no. 12: 'La jeunesse vue du seuil de la vieillesse' (originally ' Salut a la jeunesse - vue du seuil de la vieillesse'), 1
p. 1 Aug 1923 (material originally intended for no. 1 above), rev. and recop. 13-15 Dec 1932.
The alternative titles come from the cover page, which shows that the original order (in
terms of the above) was 1, 6, 4, 2, 3, 5, 7-12
Mss No: 12
2 July -6 Aug
4 [Op. 130:
Sur les flots lointains], neat short score. Theme written by Catherine Urner on board the
City of Baltimore, 2 July 1933. Realis. by Koechlin 27-8 July 1933, recop. 6 Aug 1933.
Mss No: 13
2 July 1933 -9 Feb 1934
Sur les flots lointains, orch. score, final copy. Based on a theme by Catherine Urner of 2 July 1933, realis. 27-8 July, 6 Aug 1933, orch. 1 Nov. 1933,
recop. 9 Feb 1934.
Pages: 13 pages (plus title page)
On the cover, Koechlin writes: 'This symphonic poem can be considered as a commentary on
La Connaissance de l'est by Paul Claudel,
and its text should be quoted on programmes.' Koechlin set
a song (Op. 68 no. 2) in April 1918.
Mss No: 14
30 Aug-22 Oct
No op. no. 'Sujets de fugue de Catherine Urner 1933 (qu'elle m'a envoyés de Californie)'. 9 subjects, the first only has a
(tonal) answer and is marked 'difficult for pupils due to its modulations'. Koechlin wrote a fugue for strings on this subject
of 30 Aug 1933 as his Op. 1933 no. 2 (see
F-Pn MS 16133, 10ff., 17 Sept-22 Nov 1933).
This MS (apart from the first subject seems to have been copied from Section 2, MS IX by
Urner, dated 22 Oct 
Mss No: 15
2-7 Jan 1934
12 chorals sur des thèmes anciens
p. 1: no. 2 'Sur un thème traité par Bach', 2 Jan 1934 (theme in F minor in soprano). Pubd in
Dix chorals et un prélude for org (Paris, Procuré de Clergé, 1961), p. 1.
p. 2: no. 9. Same theme as no. 2 but in the bass, 6 Jan 1934.
p. 3: no. 12. Chorale in E minor with theme in bass, 7 Jan 1934. Pubd in
Dix chorals et un prélude, p. 2.
Mss No: 16
7 June 1934
er album de Lilian
(Suite inspired mostly by the films of Lilian Harvey). no. 1: 'Gardez ce teint de jeune fille', otherwise known as 'Palmolive',
'(pour rappeler à Catherine Urner les affiches d'Oakland et de Berkeley [1928-9], celle de la
lucky girl, celle de la
Schoolgirl Complexion etc.)' Neat vocal score for S or T and pf.
Koechlin kept the advertising brochure ('Keep that Schoolgirl Complexion with Palmolive')
from which he translated the text for his unusual artistic soap commercial. The original
is now in the colletion of Madeleine Li-Koechlin (see Introduction, note 2)
Mss No: 17
7-8 Aug 1934
er album de Lilian.
no. 9: 'Tout va bien', neat vocal score for S and of in B major (first version is in C major), 7-8 Aug 1934. Words by Koechlin.
Mss No: 18
18 Sept-17 Nov 1934
Le portrait de Daisy Hamliton (Suite of 89 pieces for an imaginary film with scenario by Koechlin, starring himself and Lilian Harvey). no. 32: 'La mer
étincelante aux bruits sans nombre'. Complete short score, no instruments specified. Theme 18 Sept 1934, realis. 14, 16, 17
Mss No: 19
27 Sept-22 Nov 1934
Le portrait de Daisy Hamilton, no. 41: 'Douleur (choral)'. Neat copy of complete piece for 'pf or org or strings'. Theme 27 Sept 1934, realis. 21-22 Nov
Box 2. , Folder 20.
Mss No: 20
28 Sept-19 Dec 1934
Le potrait de Daisy Hamilton, no. 15: 'La course'. Neat copy of complete piece, no instruments specified. Theme 28 Sept 1934, realis. 11 Nov, ending 19
Mss No: 21
29 Sept-22 Nov 1934
Le portait de Daisy Hamilton, no. 45: 'Le jardin du cottage d'Amérique (dans l'espirit d'une ancienne chanson d'Ecosse)'. Neat copy of complete piece for
cl or sax with pf or string accomp. Theme 29 Sept 1934, realis. 22 Nov 1934.
Mss No: 22
3 Oct-29 Dec 1934
Le portrait de Daisy Hamilton, no. 50: 'Dans la forêt des nymphes'. Working MS, no instruments specified. Theme and realis. 3 Oct 1934, recop. and rev. 14
Dec, rev. further 29 Dec 1934.
Mss No: 23
23 Oct-6 Dec 1934
Les confidences d'un joueur de clarinette (Music for a film based on the romance of the same title by Erckmann-Chatrian. Scenario by Koechlin). no. 15: 'Nocturne, dans
le jardin de Conrad Stavolo (le soir de la lutte à la fête d'Eckerswir)'. Working short score with numerous scenic directions
and instrumental indications. Dated 23-24 Oct 1934, recop. and editing added 6 Dec 1934.
This is one of Koechlin's most imaginative and dramatic compositions. In it,
Margrédel and her betrothed, the gunner Yéri-hans, walk arm in arm by
moonlight through the garden of Margrédel's father, Conrad Stavolo. Kasper, the
clarinettest of the title, who has been rejected by Margrédel, has previously
hidden in the garden and jealously watches the lovers. At the end of the Nocturne, as
Yéri-Hans and Margrédel are about to embrace, Kasper plays a phrase on his
clarinet which startles them and causes them to return to the house.
Mss No: 24
28 Oct 1934
Les Confidences d'un joueur de clarinette, no. 16: 'Rage de Kasper (à la fin du bal [d'Eckerswir])' First sketch for cl solo (with opt. background percussion).
Koechlin adds the direction (found in no other source): 'ici il ne jouera pas - il
entendra ces sons de clarinette dans la tête-ses sentiments se manifestent par des
mélodies pour clarinette'.
Mss No: 25
29 Oct 1934
Les confidences d'un joueur de clarinette, no. 3: 'Le bouquet de fleurs des champs pour Margrédel' (originally 'Kasper cueille des fleurs'). Sketch for cl solo.
At this stage in the film Kasper still has hopes of marrying Margrédel. Page 2 of
MS 26 is on the verso of this MS.)
Mss No: 26
29-30 Oct 1934
Les confidences d'un joueur de clarinette, no. 4: 'Fanfare d'appel pour 4 cors (pour le fête d'Eckerswir)'. Working sketch for 4 natural hn in D. Dated (p. 1) 29 Oct
1934, with p. 2 on the verso of MS 25, dated '30 Oct 1933 .
Mss No: 27
2 Nov 1934
Les confidences d'un joueur de clarinette, no. 17: 'Lamento (quand Kasper lit le lettre de l'oncle Stavolo à la fin du film'. Working sketch for hn and cl, with MS 28
Mss No: 28
6 Nov 1934
Les Confidences d'un joueur de clarinette, no. 5: 'Réveil'. Working sketch for hn in D, on the verso of MS 27.
Mss No: 29
24 Oct-9 Dec 1934
Les confidences d'un joueur de clarinette, no. 14: 'Grande valse du bal (de la fete d'Eckerswir)'. Complete short score for cl and small orch. Theme (pp. 1-3), 24 Oct
1934, realis. 5-9 Dec 1934.
In this, the most extended and humourous piece in Koechlin's film score, Kasper leads his
little band (cl, hn, strings, pf) a merry dance, throwing them into confusion with his
irregular phrasing and unexpected modulations. Koechlin makes the most of the passage in
Erckmann-Chatrian's story, where he describes Kasper as playing a semitone above or below
the melodic line. Even though the little band are also made to play faster and faster in
bitonal havoc, they somehow all end together in the tonic (A major)
Mss No: 30
20-22 May 1935
24 Chorals sur des thèmes anciens (thèmes traités par Bach), part 1, no. 7. Chorale in B minor in 5 parts (theme in soprano, with the bass moving in contrary
motion to it). Dated 20 May 1935 (p. 1), 21-22 May 1935 (p. 3).
Mss No: 31
29-31 May 1935
24 chorals sur des thèmes anciens, part 1, no. 13. Chorale in F major in 4 parts (theme by Bach in soprano). Dated 29 May 1935 (p. 1), with 4 variants for middle
phrases and end of 31 May 1935 (pp. 1-2).
Mss No: 32
13 June-5 July 1935
d album de Lilian
(see MS 16), no. 1: 'Sérénade à l'Etoile errante' for fl or ondes martenot and pf or chamber orch. Dedicated 'à L[ilian] H[arvey]'.
Advanced working MS made on 4-5 July 1935 from earlier sketches of 13-14, 25 and 29 June. See also MS 40.
Mss No: 33
20 June-12 Aug 1935
Op. 149: 2
d album de Lilian, no. 6: 'Sicilienne de rêve' for ondes martenot and hpd (or for pf solo). Final sketch rev. and recop. 3-5
July 1935, based on sketches of 20, 22 and 29 June 1935. Later p. 3 was crossed out and a new ending (p. 4) substituted on
12 Aug 1935.
This piece is dedicated to 'Her Royal Highness, Princess Marie-Christine', Lilian
Harvey's role in the film
Princesse à vos ordres (Koechlin's
Mss No: 34
23 June-18 Aug 1935
d album de Lilian,
no. 5: 'Le voyage chimérique (d'après
Un rêve blond)'. Dedicated 'à Jou- Jou, artiste' (Lilian Harvey's role in the film
Un rêve blond).
Advanced working sketch for fl (doubling pic) and pf. First sketches 23 June 1935, expanded and rev. 15-18 Aug 1935. As with
MS 33, this MS was then copied as the printer's MS, now in
This is one of Koechlin's most extraordinary pieces depicting an imaginary journey across
America in a dream, over rooftops, through snow, across the sea-bed and the Arizona
desert to Hollywood (replete with Koechlin's very individual harmonisation of
(pp. 12-13 and pealing bells). The refernces to the bells
and the alternative ending for flute (elsewhere on piccolo) as Jou-Jou wakes from her
dream are not found anywhere in any other source.
Mss No: 35
30 June-13 Aug 1935
d album de Lilian,
no. 7: 'Les jeux du clown (les gambades de
Quick)'. Dedicated 'à Mrs d'Awson' (Lilian Harvey's role in the film Quick was that of Christine Dawson, lover of the clown - see MS
38). Begun on 30 June 1935 at '11 pm on returning from
Quick', continued on 28 July, with this advanced sketch for fl and pf completed on 13 Aug 1935 (copied into the final draft, now at
F-Peschig on 15 Aug 1935). See MS 67.
Mss No: 36
5-14 July 1935
d album de Lilian,
no. 2: 'Chanson de matelot en forme de
Habanera créole' (inspired by the 'Berceuse créole' from Le plumet du colonel by Henri Sauguet (1924)). Dedicated 'à la petite marchande des
Quand tu voudras donner ton coeur' (Lilian Harvey's role in this early silent film of 1929). Advanced sketch for pf solo made on 14 July 1935, for earlier drafts
of 5, 8-9 and 13 July 1935. The final draft of 12 Aug 1935 is now at
Mss No: 37
26-30 July 1935
d album de Lilian,
no. 4: 'Barcarolle monégasque pour
Let's Live Tonight'. Dedicated 'à Miss Kay Routledge' [Lilian Harvey], and headed 'Kay, seule, la nuit, à bord du yacht de Nicky [Tullio Carminati],
dans la rade de Monte Carlo (du film
Let's Live Tonight)'. First sketches 26 July 1935, this advanced working sketch recop. 28-9 July, rev. 30 July 1935. Final version (11 Aug 1935)
Mss No: 38
26-9 July 1935
d album de Lilian,
no. 8: 'La prière de l'Homme (en commentaire de Quick)'. Dedicated 'à Christine [Dawson], l'amante du clown' (see MS 35).
A Satiean chorale for pf solo 'grave et tendre dans le caractère de
Mon rêve familier' (a Verlaine setting of 1900, Op. 22 no. 3). First sketch 26 July, rev. and recop. 28-9 July 1935. Final version (12 Aug 1935)
Mss No: 39
13 Aug 1935
d album de Lilian,
no. 3: 'Swimming (pour le film Calais-Douvres)'. Dedicated 'à Miss Gladys Allauran [O'Halloran]' (Lilian Harvey). This piece
for fl and pf was the last to be composed of Op. 149. Again this is a penultimate version, withthe final version (14 Aug 1935)
Mss No: 40
13-14 Aug 1935
No op. no.,
Exposition de fugue symétrique (sujet de Charles Koechlin). p. 1 : 12 bars exposition, dated 13-14 Aug 1935. p. 2: 2 lines (crossed out) from Op. 149 no.
1 (see MS 32, pp. 2-3), together with more sketches for the fugue on p. 1, dated 13 Aug 1935. See also MS 41.
Pages: 2 pages
The symmetrical fugue was a type suggested by Général Emile Duchêne,
whose article 'Essai sur la fugue symétrique' had appeared in
on 31 Oct 1934, pp. 271-2 (following Koechlin's article on 'Le
problème de la musique de cinéma' (pp. 269-71)). In MS 40 the subject
modulates from C minor to F sharp minor, with an answer at the augmented fourth above
returning from F sharp minor to C minor. Duchêne, like Koechlin, studied at the
Ecole Polytechnique in Paris, and came to Koechlin for lessons in 1935.)
Mss No: 41
14 Aug 1935
No op. no.,
Exposition de fugue symétrique (sujet de Charles Koechlin). This takes the fugal answer of MS 40 and treats it as the subject, beginning in F sharp minor. Again the fugue only goes as
far as bar 11.
Mss No: 42
15 Aug 1935
No op. no., MS 41 worked as a double fugue (12 bars of exposition only).
Mss No: 43
21-2 Aug 1935
No op. no.,
Exposition d'une fugue pour quatuor à cordes (based on an earlier subject and counter-subject). 20 bars in C minor.
Mss No: 44
22 Aug 1935
Quelques choers réligieux a capella, de style modal, no. 1:
Kyrie. This MS clearly shows the piece as being composed in 10 sections growing from one to six parts, then returning to two parts
by the end.
Mss No: 45
23-4 Aug 1935
Quelques choers réligieux, Page 1 (23 Aug) contains no. 7: Gloria (monodic); no. 5: Sanctus (monodic) and no. 10:
Benedictus (first monodic phrases only, a major third higher than the final verson). Page 2 (24 Aug) has the complete
Benedictus (no. 10) in 1-3 parts, as pubd by Salabert, Paris in 1951.
Mss No: 46
late Nov 1935
'Pour un choeur la chorale populaire' (p. 1). melody line in G major, perhaps considered for addition to Op. 153:
Quelques chorals pour des fêtes populaires (Aug-Sept 1935). Page 2 adds another (undated) melody in C minor.
Pages: 2 oblong half pages
Mss No: 47
13 April 1936-11 Sept 1937
14 chants pour flûte et piano, no. 4: Andante con moto (1 p., theme 13 April 1936, realis. 11 Sept 1937); no. 6: Andante quasi adagio (1 p., theme 13 April
1936, recop. and rev. 28 April 1936, realis. 11 Sept 1937).
Mss No: 48
13 April 1936-9 Sept 1937
s: Quatorze chants pour flûte et piano, no. 10: Allegretto quasi andantino (1 p., theme 13 April 1936, rev. 18 April 1936, realis, 9 Sept 1937); no. 14: Allegro moderato
(1 p., theme 13 April 1936, rev. 28 April 1936, realis. 8-9 Sept 1937).
Mss No: 49
13 April 1936-9 Sept 1937
Quatorze chants pour flûte et piano, no. 13: 'Marche funèbre' (1 p., theme 13 April 1936, rev. and recop. 28 April 1936, realis. 8-9 Sept 1937); p. 2: no. 2: Gai,
assez animé (1/2 p., 14 April 1936); no. 5: Allegro moderato (1/2 p., theme 26-7 April 1936, realis. 8 Sept 1937).
Mss No: 50
13 April 1936-11 Sept 1937
Quatorze chants pour flûte et piano, no. 12: 'Danse pritanière' (1 p., theme 13 April 1936, realis. 11 Sept 1937); no. 9: Allegretto [con moto] (1 p., theme 20-21
April 1936, realis. 11 Sept 1937).
Mss No: 51
14 April 1936-11 Sept 1937
Quatorze chants pour flûte et piano
p. 1: no. 1: 'Andante, comme une vieille chanson' (1/2 p., theme 14 April 1936, realis. 9 Sept 1937); no. 8: Andantino sans
trainer (1/2 p., theme 14 April 1936, realis. 9 Sept 1937)
p. 2: no. 3: Andante espress[ivo], sans lenteur (1 p., theme 14 April 1936, realis. 11 Sept 1937).
Mss No: 52
14 April 1936-10 Sept 1937
2 Op. 157bis:
Quatorze chants pour flûte et piano, no. 7: 'Beau soir' (1 p., theme 14 April 1936, realis. 10 Sept 1937); no. 11: Allegretto (1 p., theme 14 April 1936, rev.
28 April 1936, realis. 9 Sept 1937).
For neat copies of MSS 47-52 in performing order, see F-Pn MS 14383, or the pubd version
by Salabert (1948)
Mss No: 53
[Early June 1936]
Musique de scène pour le final du 2d Acte du drame de Romain Rolland 'Le Quatorze Juillet' (ou 'Liberté). Complete vocal score for chorus, actors (Camille and Lucile), orch. (pf reduction).
Koechlin collaborated with Ibert, Auric, Milhaud, Roussel, Honegger and Daniel Lazarus to
provide a complete score for Romain Rolland's play. Their scores were first performed on
14 July 1936 at the Arènes de Lutèce, Paris (cond. Roger
Désormière) and on the following days (in conjunction with Rolland's play)
at the Théàtre de l'Alhambra, Paris, for which Koechlin prepared a reduced
Liberté when it was discovered that th Alhambra pit could
not accommodate his original 57 players.
Mss No: 54
12-22 Aug 1936
La méditation de Perun Bhagat, symphonic poem for orch., inspired by the story 'The Miraccle of Purun Bhagat' from the Second Jungle Book by Rudyard Kipling.
Wporking short score entitled: 'Pour la meditation de Preun Bhagat [sic]' written at a crucial stage in the work's development,
mostly between 18 and 20 August 1936. Incomplete in that the ending (an example of vertical atonlity with 12 superposed perfect
fifths covering 7 octaves) had not yet been thought of, or is missing from MS 54. Most of the work's original melodic outline
(chant) can be clearly traced here, and the final orch. score can be found in
F-Pn MS 16162, or F-Peschig MS 1195.
Mss No: 55
28 Aug 1936 and 10 July 1937
Requiem des pauvres bougres, no. 6: Final chorale for org. Theme 'Villers, 28 Aug 1936', realis. 10 July 1937. See MSS 62-6
for the other sketches for Op. 161.
Mss No: 56-61
11-24 Nov 1936
Sketches for Op. 160:
Les eaux vives. Written to accompany the Fetes de la lumiere at the Paris Exposition Universelle in 1937. The score consists of the following
carefully timed sections:
1. Prologue (les fumees) Three 1 1/2 minute sections.
2. First episode (la valse des eaux). 3 1/2 minutes.
3. First interlude. 30 seconds.
4. Second episode. 3 1/2 minutes.
5. Second interlude. 30 seconds.
6. Third episode (Scherzo de la lumière). 3 1/2 minutes.
7. Third interlude. 1 1/2 minutes together.
8. Coda. 1 1/2 minutes together.
The five MSS below are a series of early working drafts for most of
Les eaux vives, some of which have instrumental indications added.
Mss No: 56
22 Nov 1936
Section 1: 'Prélude: les Fumées. 3 périodes de 1m chaque'. Period 1: pp. 1-2; Period 2: pp. 3-5; Period 3: pp. 6-10. Page
8 is dated 2 Nov .
Mss No: 57
14-15 Nov 1936
First episode: 'La valse [des eaux]', with several pages of variants and some earlier sketches. Mostly 14-15 Nov 1936 (though
the sketch on p. 15 is dated 2 Nov (crossed out)).
Mss No: 58
16-19 Nov 1936
First interlude (pp. 1-2); Second interlude (p. 3, dated 16 and 19 Nov); Third interlude (pp. 4-5, sketches unused in MS 60
Mss No: 59
16-22 Nov 1936
Second episode. Page 3 is dated 22 Nov. Sketches for the Second interlude (16 Nov) on p. 10 are crossed out.
Mss No: 60
16-24 Nov 1936
Third episode [Scherzo de la lumière]. Page 1: 17 Nov; p. 2: realis. 24 Nov; p. 3: themes 22 Sept, realis. 17 Nov; p. 7: 16
Nov, recop. 18 Nov; p. 13: 18-20 Nov; p. 15: 19, 20 and 24 Nov.
Mss No: 61
11-20 Nov 1936
Third interlude (pp. 1-3) and Coda (pp. 4-7). Page 7: 11 Nov, rev. and recop. 19-20 [Nov].
Mss No: 62-66
Feb-3 July 1937 (see also MS 55) 59.
Sketches for Op. 161:
Requiem des pauvres bougres
For chorus, pf and org or orch. in 6 continuous movts. Movts 1, 3 and 5 are musically
linked settings of the text 'Requiem aeternam, dona eis requiem', and movts 2, 4 and 6
are calm instrumental pieces ( a 'Nocturne for pf - which has stylistic links with
Koechlin's Conservatoire teacher Gabriel Fauré; a piece for org or orch
(Très calme'), and a chorale in canon for org. or orch., whose theme dates from
Aug 1936 (MS 55)
Mss No: 62
25 Feb-19 June 1937
no. 2: 'Nocturne'. Preliminary sketches, some following Koechlin's later practice of constructing a piece from a series of
numbered musical cells (25 Feb, rev. 19 June 1937). The versos contain crossed out sketches for an alternative (unused) Nocturne,
dated 26-7 Feb 1937. Page 5 contains a sketch for the start of the 'Danse lente' for Ginger Rogers (Op. 163 no. 2), also crossed
out (25 Feb 1937). See MS 70.
Mss No: 63
16 May-24 June 1937
no. 2: 'Nocturne'. Complete rough draft, based on MS 62 (Feb 1937), realis. and recop. Mostly between 21 and 24 June 1937,
but with dated intermediate work on 16 May, 13-21 June (pp. 3-5). See MS 64.
Mss No: 64
22-9 June 1937
Page 1: no. 2: 'Nocturne'. Sketch of ending (1/2 p.), rev. and recop. 22 June 1937 (a revision of MS 63, p. 5). Start of no.
1: 'Requiem aeternam' for unacc. choir (1/2 p.), realis. 24 June 1937. See MS 66.
Page 2: no. 4: [Très calme' for org or orch.] Start, 26-7 June 1937. See MS 65. This runs on into p. 3 (no. 4) of 24 June,
rev. 29 June 1937.
Page 4: Early sketches for the start of no. 2: 'Nocturne'. Crossed out, n.d.
Mss No: 65
26 June-3 July 1937
no. 4: 'Très calme'. Complete rough draft of 26 June, rev. and recop. 2-3 July 1937. See MS 64.
Mss No: 66
30 June-2 July 1937
Page 1: no. 1: 'Requiem aeternam', with lead into no. 2: 'Noctune' indicated. Recop. 30 June 1937.
Page 2: no. 3: a varied reprise of no. 1, a major third higher, dated 2 July 1937.
Mss No: 67
21 June 1937 and 7 Aug 1939
No op. no. (nut possibly intended for use in Op. 174bis:
Course au soleil or Op. 176: Les bandar- log). Titled 'Soleil du matin sur la jungle'. Monody (over long-held chords) dated 21 June 1937, rev. 7 Aug 1937.
Pages: 2 pages (small format)
Koechlin indicates that the piece would be better a semitone higher (p. 1), and this is
carried out in the next stage of composition (MS at
F-Pkoechlin, 2 pp., 12
Aug 1939). The practice of transposing sections of pieces up or down a semitone or tone
is quite common in Koechlin's works of the 1930'a and 1940's. 'Les jeux du clown' (Op.
149 no. 7) has a transposed recapitulation, for instance, although this is not evident
from MS 35, by which later stage Koechlin had covered his compositional tracks.
Mss No: 68-77
[13 Aug 1936]-2 Sept 1937
Sketches for Op. 163:
Danses pour Ginger: en homage à Ginger Rogers
The now-forgotten film star Lilian Harvey inspired most of Koechlin's film music netween
1933 and 1936, but when she refused to even acknowledge the receipt of a series of these
pieces that Koechlin sent her in Antibes in 1936, he switched his interest to Ginger
Rogers, whse dancing, in
Swing Time in particular, entranced him and
inspired the 'Danse sous les étoiles' (Op. 163 no. 4). As with his other film
pieces, Koechlin intended to orchestrate the
Danses pour Ginger, but never
did so. Only the 'Danse lente' (no. 2) is playable as a piano piece, and is also perhaps
a tribute to Erik Satie -a sort of 4th
Gymnopédie (like the fourth
movt of Ravel's suite
Ma mére l'Oye).
Mss No: 68
13 Aug 1936
'Thèmes de fugue, écrits Genève [13 Aug 1936] dans la jardin où' il y a le sévère monument de la Réformation'.
First subject: 'Andante: Grave et pesant: L'austérité protestant de Calvin'. In F minor.
Second subject (as a reaction against the first): 'Mouvt de Valse, animé et souple: Pour Ginger Rogers'. This contains the
idea used as the basis for 'L'élan' (Op. 163 no. 1) in the same key of E flat major.
Mss No: 69
[4 July 1937]
no. 1: 'L'élan'. Complete sketch, entitled 'Suite de danses' only. n.d., but probably 4 July 1937.
Mss No: 70
4-8 July 1937
no. 2: 'Danse lente'. Complete rough sketch (pp. 1-4) dated 4 July 1937. Page 5 contains material to be inserted into p. 4
(numbered '4 bis') composed on 8 July 1937. See MS 62.
Mss No: 71
5 July-2 Sept 1937
no. 5: Final ['Apothéose de la danse']. Complete rough draft, 5 July, rev. 17 and 20 Aug, and 1-2 Sept 1937.
Mss No: 72
18-19 Aug 1937
no. 3: ['Les tourbillons']. Sketches for the second half, dated 18-19 Aug . Page 1 crossed out.
Mss No: 73
19 Aug 1937
no. 3: ['Les tourbillons']. Second version of MS 72, dated 19 Aug 1937.
Mss No: 74
19 Aug 1937
no. 3: ['Les tourbillons']. First complete draft, dated at end 19 Aug 1937, but using sketches dating back to June 1937 (p.
Box 3. , Folder 72.
Mss No: 75
June 1937-20 Aug 1937
no. 3: 'Les tourbillons'. Second complete draft, 6 1/2 pp. (numbered '9-15'). Page 15 marked: sketches of 1, 4 and 5 July,
19 Aug 1937, recop. 20 Aug . pp. 6-7 (numbered '15-16') show the start of no. 4: 'La danse sous les étoiles (de Swing-Time)'
which follows on without a break. Incomplete late sketch, 1 1/2 pp., probably 20 Aug 1937.
Mss No: 76
[? 20 Aug 1937 or earlier]
no. 4: 'La danse sous les étoiles'. Rough sketch of final section, n.d.
Mss No: 77
[? 20 Aug 1937 or earlier]
no. 4: 'La danse sous les étoiles'. Rough sketch of first part (pp. 1-3), with a sketch for the end (crosed out) on p. 4.
Pages 3-4 also include sketches for the start of no. 3 (crossed out).
MSS 76-7 are undated, but are almost certainly earlier than MS 75.
Mss No: 78-9
25 Feb-4 Aug 1937
Épitaphe de Jean Harlow for fl, alto sax and pf.
This 'Romance' may originally have been inspired by Lilian Harvey, for it is identical in
mood and key to the sicilienne 'Skating-Smiling' from the
er album de Lilian
(Op. 139 no. 6, 1934). It was actually
begun before Jean Harlow's death at the age of 26 (during the filming of Saratoga with
Clark Gable), but Koechlin thought that the melody so suited her screen image that he had
no hesitation in dedicating it to her as a sort of obituary. This is the last of the
shorter film pieces, and MS 79 p. 2 shows that Koechlin had his earlier song
Épiphanie (Op. 17 no. 3, 1899-1900) in mind during its composition. The text of
the passage he cites is: 'When a furtive breeze lightly ruffles her blond hair It is as
if a cloud of indescribable ashes inundates her shoulders': the reference to Jean Harlow
Mss No: 78
25 Feb-3 Aug 1937
Sketches (without instrumental indications). First version of Op. 164 dated 25 Feb 1937 (p. 1); 25, 27 Feb, reworked and completed
7-8 July 1937 (p. 4); recop. 8 July 1937, rev. 3 Aug 1937 at S[an] Diego. (p. 5)
Mss No: 79
25 Feb-4 Aug 1937
Final sketch with instrumental indications for fl, alto sax and pf. Dated (p. 4): first version 25 Feb 1937, reworked and
completed 7-8 July, rev. 3 Aug S[an] Diego, recop. 3-4 Aug 1937.
Mss No: 80-87
23 June-Aug 1937
Septuor à vent for fl, ob, cl, cor a, alto sax, bn and hn. A good example of a piece which was not composed in its final performing order,
and which was completed (together with its longer alternative) finale Op. 165bis: see MSS 88-92) during Koechlin's prolific
third visit to America, mostly in California.
Mss No: 80
23-8 June 1937
no. 3: 'Intermezzo'. Complete final sketch in short score with instrumental indications for septet. Dated (p. 6): 23-6 June,
recop. and rev. 27-8 June 1937.
Mss No: 81
28 June-2 July 1937
no. 1: 'Monodie' for cl or alto sax, 28 June and 2 July 1937.
Mss No: 82
5 July 1937
[no. 6: 'Fugue']. Preliminary sketches, recop. 5 July 1937.
Mss No: 83
13 July 1937
[no. 6: 'Fugue']. Rough sketches for second half, n.d., but recop. on p. 1 of MS 84.
Mss No: 84
13-14 July 1937
[no. 6: ' Fugue']. Rough sketches for second half, 13-14 July 1937. See MS 83.
Mss No: 85
2-22 July 1937
no. 6: 'Fugue sur un thème d [e mon fild] Yves'. Complete short score in final sktech form with instrumental indications for
septet. Dated 2-5 July (p. 2); 9-10 July (p. 3); 13-14 July (p. 5); 13-14 July with instrumentation added on 22 July 1936
Mss No: 86
4-22 July 1937
no. 5: 'Sérénité'. Complete short score in final sketch form with instrumental indications for septet. Dated (p. 3): first
sketch 4 July, rev. 5 July, recop. 19 July, rev. 15 July, instrumental indications added 22 July 1937.
Mss No: 87
29 July-Aug 1937
no. 4: 'Fugue'. Rough complete sketch in short score for septet, pages numbered '1-3', with sketches for the ending on the
verso of p. 1. Dated 29 July 1937 (p. 1 recto); 29 July-2 Aug 'revu au piano à San Diego' (page numbered 2); 30 July 1937
(page numbered 3). Sketches on p. 1 dated 29-30 July 1937.
This sketch bears the Septet's original title
Caprice sur le retour de mon fils
Yves Koechlin, the composer's youngest son, had run away to Menton earlier
that month (aged 14), and the Septet was written as a joyous celebration of his safe
return to Paris. Koechlin later transposed this Fugue (here in D flat major) down a tone
for publication (Oiseau-Lyre, 1947, pp. 11-14)
Mss No: 88-92
24 July-Aug 1937
Op. 165bis: Alternative fugal finale to Wind Septet Op. 165 in two parts, entitled: 'La vie s'ouvre devant toi - Va, librement!'
This American composition would seem to refer both to Koechlin's son, Yves (see MS 87 note), and to Koechlin's own aspirations
on his final trip to California. The final version of Op. 165 bis
(f-Pkoechlin) grew into a symphonic peom entitled
Vers La Vie for 2 fl, 2 ob, cor a, cl, alto sax, tenor sax, bar sax, hn, tpt, trbn, and contra-bn in Sept 1937.
Mss No: 88
24 July 1937
Part 1: 'La vie s'ouvere devant toi'. Preliminary sketches with instrumental indications (still for wind septet). Written
'on board the
Île de France [bound for New York] at the prow of the vessel, at night'.
Mss No: 89
24 July 1937
Second version of MS 87 'written at sea on the evening of 24 July 1937', also on the prow of the
Île de France. Page 2 shows that Part 1 is a slow introduction (for septet) leading into part 2, an Allegro fugue.
Mss No: 90
28 July 1937
Fugal and canonic sketches for Part 2: 'Va, librement!'. Dated (p. 1), 28 July 1937 [Chicago]. The sketches on p. 1 were not
used in Op. 165bis.
Mss No: 91
8-13 Aug 1937
Part 2: 'Va librement!' complete working short score, pages numbered '1-6', with sketches for the penultimate chorale section
on p. 1 verso. This MS begins with the fugue sketched on MS 90, p. 2. Dated 8 Aug (p. 1); 9 Aug (p. 2); 10 Aug (pp. 3-4);
8-11 Aug, rev. 12-13 Aug (end), all in San Diego. Still for wind septet.
Mss No: 92
18 Aug 
Fugal sketches marked '4th exposition' (p. 1) and '5th exposition' (p. 2). Possibly intended for Op. 165bis, but never used.
Mss No: 93
24 Nov-12 Dec 1937
Op. 166 (1):
20 chorals de style modal (donnés à San Diego), [Aug 1937]
MSS 93ff. are again in chronological order by earliest manuscript date.
no. 1: mode de la, 1 Dec 1937.
no. 2: mode de la, 2 Dec 1937.
no. 3: mode de ré, 2 Dec 1937.
no. 4: mode de la, 2 Dec 1937.
no. 7: mode de mi, [3 Dec 1937].
no. 6: mode de la 3 Dec 1937, together with the melodies (unharmonised) of nos. 16 and 12.
no. 8: mode de ré, 25 Nov 1937.
no. 9: mode de mi, 25 Nov 1937.
no. 11: mode de sol, 7 Dec 1937.
no. 12: mode de fa, 8 Dec 1937.
no. 13: mode de mi, 8 Dec 1937.
no. 14: mode de sol, 8-9 Dec 1937.
no. 15: mode de ré, 24-5 Nov 1937.
no. 16: mode de mi, 9 Dec 1937.
no. 17: mode de ré, 9 Dec 1937.
no. 18: mode de fa, 9 Dec 1937.
no. 5: mode de la, 2 Dec 1937, together with a list of the various modes used and the numbers of the chorales in each mode.
no. 19: [mode de mi puis de la ou de ré], [2 Dec 1937].
no. 19bis: Same theme but with 'corrections à la réalis[ation] de Mrs Robinson [a pupil at San Diego] sur ce texte', 2 Dec
no. 20: Canonic realisation in modal polyphony, 12 Dec 1937.
Mss No: 94
Nov-12 Dec 1937
Op. 166 (2):
20 autres chorals de style modal (Schola Cantorum) [Course in modal polyphony, Nov 1937]
no. 1: mode de la, Nov 1937.
no. 2 (start): mode de la, n.d.
no. 3: mode de ré, Nov 1937, rev. 2 Dec 1937.
no. 2 (conclusion): mode de la, 5 Dec 1937.
no. 5: mode de sol, 5 Dec 1937.
no. 6: mode de ré, 5 Dec 1937.
no. 10: C minor, 12 Dec 1937.
no. 7: C major, 9 Dec 1937.
no. 9: F minor, Nov 1937.
no. 8: G minor, Nov 1937.
Mss No: 95
Op. 166 (2):
20 autres chorals de style modal
no. 11: B minor, 28 Dec 1937.
no. 12: G minor, 28 Dec 1937.
no. 13: F major, 28 Dec 1937 together with a fugue subject in A major, and the start of a
Pastorale in G major, dated Oct 1937 (see MS 95a).
no. 15: G major, 29 Dec 1937, together with a 'Thème de Sicilienne', 30 Dec 1937 (see MS 95b), and a 'Thème à voir pour bois.
Final à un pastorale', 30 Dec 1937 (see MS 121, p. 2).
no. 16: mode de la, 30 Dec 1937 (see MS 98, p. 1).
Mss No: 95a
No op. no.: 'Pastorale - très tranquille'. Same 8-bar theme found on p. 2 of MS 95.
Mss No: 95b
30 Dec 1937
No op. no.
Pages: 2 pages (oblong 1/2 pages)
p. 1: Theme for a 'Sicilienne' in D major, 30 Dec 1937. Same theme as on p. 3 of MS 95, together with a fugue subject in G
major by Catherine Urner (copied by Koechlin).
p. 2: Fugue subject in A major (crossed out), together with the same 'Pastorale' theme as on MS 95, p. 2 (also crossed out),
Mss No: 96
7-9 Jan 1938
Op. 166 (2):
20 autres chorals de style modal.
no. 17: G minor, 7 Jan 1938.
no. 18: C minor (à 5), 8 Jan 1938 (see MS 98, p. 1).
no. 18bis (à 4, same theme as no. 18), 9 Jan 1938.
no. 18 (2 variants: à 3 and à 2), [9 Jan 1938].
p. 3: no. 16bis (conclusion from p. 1), together with notes about the nature of intervals (for teaching purposes).
Mss No: 97
8 Jan 1938
No op. no.: p. 1: Fugal exposition (à 4) on a subject by César Franck, 8 Jan 1938. Page 2 has a variant (crossed out) of p.
1 bar 2ff.
Mss No: 98
14-21 Jan 1938
Op. 166 (2):
20 autres chorals de style modal.
no. 16ter: G minor, 14 Jan 1938 (cf MS 95, p. 4).
no. 18ter: C minor, 14-21 Jan 1938 (cf MS 96).
no. 19: mode de la, 21 Jan 1938.
no. 20: D major, 21 Jan 1938.
Mss No: 99
late Feb-3 March 1938
40 divers chorals.
no. 8: mode de ré, late Feb 1938 ['réalisé à la Schola'].
no. 9: mode de mi, late Feb 1938.
p. 2: nos. 10 and 10bis: ['modal-modulant'] (2 versions of same theme), 1 March 1938.
p. 3: no. 11: D major, 1 March 1938.
p. 4: no. 12: G minor, 2 March 1938.
p. 5: no. 13: C minor, 3 March 1938.
p. 6: no. 4: E major, late Feb 1938.
Mss No: 100
15-19 March 1938
40 divers chorals.
p. 1: no. 21 (variant): E flat major, 15-16 March 1938.
no. 23: mode de la (modulant), 16 March, realis. 19 March 1938.
no. 15: mode de mi (theme only), n.d.
Mss No: 101
18-20 March 1938
Op. 168: 40 divers chorals, no. 24 in B flat minor, 18 March, realis. 20 March 1938.
F-Pn MS 16172, p. 25 scores this chorale for SATB choir.
Mss No: 102
22-27 March 1938
No op. no.
A varied form of this subject is included in Koechlin's sketches for
cité nouvelle: rêve d'avenir
(Op. 170), but the composer later
rejected it in May 1938 (see F-Pn MS 14391 (2E), p. 20 verso).
p. 1: Fugal exposition ( 4) in D minor (subject by Koechlin), 22 March 1938. See also MS 105.
p. 2: Fugal exposition (à 4) in A minor, 'sujet d'après [André] Géldage', 27 March 1938.
Mss No: 103
13-14 April 1938
40 divers chorals.
p. 1: no. 34: mode de la, realis. 13 April, rev. and recop. 14 [April 1938].
p. 2: no. 35: 'Exercice de modulations', B flat major, 13-14 April 1938.
Mss No: 104
7-13 May 1938
40 divers chorals and Op. 172:
40 chorals sur des textes proposés à mes élèves de la Schola Cantorum [Paris].
p. 1: Op. 168 no. 39: 'Realisation in triple [and quadruple] canon', G major, 7-8 May 1938.
p. 2: Op. 172 no. 1: mode de la, 13 May 1938.
Mss No: 105
12-13 May 1938
No op. no. Fugal expositions on closely related subjects, similar to that used on p.1 of MS 102 (and see Note).
p. 1: In B flat minor (à 4), 12 May 1938, recop. on same day on p. 3.
p. 2: Openings only in C and F minor, May 1938.
p. 4: In D minor (à 4). 'Exposotion d'un sujet assez difficile et avec un C.S. mouvementé', 12-13 May 1938.
Mss No: 106
16-27 May 1938
40 chorals, no. 4: [mode de la]. Theme 16 May, realis. 27 May 1938 (see MS 107).
Mss No: 107
p. 1: no. 2: mode de la. Theme 16 May, realis. 26 May 1938.
pp. 1-2: no. 3: C minor 'avec des parties modales'. Theme 16 May, the passage on p. 2 can be found on the lower part of p.
3, also dated 28 May .
pp. 2-3: no. 4: mode de la, recop. of MS 107 made on 27 May 1938.
p. 4: Sketches for no. 3 (treble and bass only), n.d.
Mss No: 108
27 May 1938 (date from potsmark).
'Choral à 4 voix de Jean Cartan (1906-1932)' in E minor (p. 1), dating from 3 Dec 1926. Copied by Koechlin in late May 1938
and sent with explanatory annotations (p. 2) to 'Mrs. Catherine Urner Shatto, 5331 Taft Avenue, Pacific Beach, Calif[ornia],
Pages: 2 pages (plus envelope)
The chorale was posted in the rue des Ecoles, Paris 5 on 27 May 1938, and arrived in
California on 6 June.)
Sept. 20-22 1938
Op. 173: Petites pieces nos. 1-4
Mss No: 109
4 Jan-13 Feb 1939
40 chorals, no. 29: G sharp minor. Theme 4 Jan 1939, realis. 12-13 Feb 1939.
Mss No: 110
9-16 Feb 1939
40 chorals, no. 31: B minor. Theme 9 Feb 1939, realis. 16 Feb 1939.
Mss No: 111
19 Feb 1939
No op. no.: Fugal exposition (à 4) in F major (subject by Koechlin).
Mss No: 112
2-8 March 1939
40 chorals, no. 36: B flat minor. Theme 2 March, realis. 6-8 March 1939.
Mss No: 113
Unidentified fragment. 3 bars (6/8) in C major, n.d. Dating suggested by its palcing in the Shatto-Urner collection.
Mss No: 114
6 May 1939
p. 1: 3 fugue subjects by Koechlin, 6 May 1939. p. 2: Undated melody line (6 bars) probably in the hand of Catherine Urner.
Pages: 2 pages (oblong 1/2 pages)
Mss No: 115
26 May-1 June 1939
No op. no. Themes sent by post (via Catherine Urner) for Koechlin's American pupils to harmonise.
p. 1: B minor, 26 May 1939.
p. 2: G minor, n.d. (Second part added in 2 bars).
p. 3: C major, 30 May 1939. Marked 'envoyer thème à S[ampuyo] Brand o' (a pupil of Koechlin's since 24 March 1938).
p. 4: Neat copy of p. 3 (with an extra penultimate bar), dated 30 May-1 June 1939.
Mss No: 116
Used as a wrapper for other MSS possibly Op. 172. Page 1 contains 1 bar of incomplete orch. score (str, trbn and pf only in
9/8). Unidentified page, numbered '89', n.d. Page 2 is headed 'à réaliser. Thèmes de chorals Mai-Juin-Juillet 1939'. No music
Mss No: 117
21 June 1939
Unidentified fugue and chorale.
Page 1 contains a fugal exposition (à 4) in G minor, 21 June 1939.
Page 2 contains a modal choale theme of 21 June 1939 used in an examination at the Schola Cantorum, Paris.
Mss No: 118
? April-July 1939
p. 1: no. 37: A major, n.d., but possibly April 1939.
p. 2: no. 33: G minor, theme only, July 1939.
Mss No: 119
Unidentified chorale themes in D minor and G major, July 1939.
Mss No: 120
29 July 1939
Unidentified melody line in D flat major comoposed 'par une splendide matinée' on 29 July 1939 (Koechlin puts '1931' in error).
Mss No: 121
4 Aug 1939
Unidentified fugal exposition and themes.
p. 1: Exposition of a 'fugue symétrique', subject by Koechlin, 4 Aug 1939 (see MS 40 Note).
p. 2: Various themes, n.d., incl. 'thème à voir pour bois - final?' which is the same as that on MS 95 p. 3 (30 Dec 1937),
but with some additional developments.
Mss No: 122
late July-10 Aug 1939.
Page 1: Unidentified themes in G minor (late July-Aug 1939) and F sharp minor (10 Aug 1939), together with some notes (Crossed
out) realting to the composition of
Les bandar-log (Op. 176): 'Détails à revoir pour les fausses notes de la musique composée pour les singes. Simplifier la présentation. Mais
ensuite il y aura la fugue réunié aux gambades [des singes] et le Retour à Bach'.
This suggests that this MS may have been used as a wrapper for sketches for
at some stage.
Page 2: Undated examples for harmony lessons.
Mss No: 123
4-12 Aug 1939
Les bandar-log, poème symphonique d'après
Le livre de la jungle de Rudyard Kipling.
p. 1: Preliminary (purely rhythmic) sketches for sections entitled 'L'atonal' (Eschig orch. score, 1967, pp. 27-8) and 'Le
Retour à Bach' (orch. score, p. 42), 4-6 Aug 1939.
p. 2 (centre): Unused sketch relating to orch. score pp. 78-9 ('la fin de la percussion'), surrounded by two themes in D major
(12 Aug ), which were probably not intended for
Mss No: 124
15 Aug 1939
No op. no.
Chant du matin (possibly intended as an addition to Op. 174:
Vers le soleil). Monody, 15 Aug 1939, Paris, 'par un temps admirable et au son des cloches de St Et[ienne] du Mont'.
Mss No: 125
5 Oct 1939
No op. no. Unidentified theme in A flat major, 'Jeudi, 5 Oct 1939, soir à Villers [-sur-mer]' (Normandy).
Mss No: 126
7-9 Dec 1939
No op. no. Realisations of fugue subjects set by Koechlins for his private pupils.
p. 1: C minor. Sujet [d'après Ravel] donné à faire à Guy Lambert', 7 Dec 1939 (see MSS 127 and 131 pp. 1 and 3).
p. 2: F minor [for R. Thiry], 9 Dec 1939 (see MSS 128 and 131 p. 2).
p. 3: Copy of start of p. 2. 'Sujet envoyé à R. Thiry', [9 Dec 1939].
Mss No: 127
7 Dec 1939
No op. no. Fugal exposition in C minor (subject by Koechlin 'd'après Ravel - envoyé à Guy Lambert'). Copy and extension of
MS 126 p. 1, 7 Dec 1939 (see MS 131 p. 1).
Mss No: 128
9 Dec 1939
No op. no. Fugal exposition in F minor (subject by Koechlin). Copy and extension of MS 126 p. 2, 9 Dec 1939 (see MS 131 p.
Mss No: 129
11 Dec 1939
No op. no. Monody in G, 11 Dec 1939, 'matin à Villers, soleil'.
p. 1: Dorian mode. Theme in ink with sketchy realisation in pencil.
p. 2: As p. 1, theme in G major. n.d., but probably 1939.
Mss No: 130
Two chants donnés (themes by Koechlin).
Mss No: 131
22-5 March 1940
No op. no. Three fugal expositions. (subjects and realisations by Koechlin).
p. 1: C minor. 'Hommage à l'infante défunte [Ravel]'. Another working of the subject sent to Guy Lambert (see MSS 126 p. 1
and 127), 22 March 1940.
p. 2: G minor. Another working of the subject sent to R. Thiry (see MSS 126 pp. 2-3 and 128), here transposed up a tone, 22
p. 3: C minor, as p. 1 above, but with the theme announced in the tenor instead of the soprano (see MSS 126 p. 1 and 127),
25 March 1940.
Mss No: 132
5 July 1940
(oblong) No op. no. Various themes (unidentified) in A, B flat and G major, the last (p. 2) marked 'd'après la Jolie fleur'.
Mss No: 133
[? Oct 1942]
Offrande musicale sur le nom de Bach. Preliminary (unused) sketch for no. 11: 'Fugue symétrique sur le nom, de Bach', n.d.
Mss No: 134
No op. no. 
Esquisses Normandes by Catherine Urner (1929). Short score (with instrumental indications) revised and copied by Koechlin from Urner's original
(see Section 3 below, MS ii. For titles see MS 135).
Box 4. , Folder 134.
Mss No: 135
4-7 Nov 1945
Esquisses Normandes. Suite d'orchestre by Catherine Urner (Autumn 1929), scored for chamber orch. by Koechlin as a memorial tribute (see Introduction). Orch. score.
Chant d'automne (dans un cimètiere à la campagne). 4 pp., Villers, 2 Nov 1929, orch. 4 Nov 1945, Villers.
Koechlin adds that this was the cemetary at Auberville, near his Normandy home at
Solitude sur les falaises. 11 pp., Dec 1929, orch. 5 Nov 1945, Villers.
Aux champs. 8 pp., Paris, 30 Nov-1 Dec 1929, orch. 4 Nov 1945, Villers.
La mer joyeuse. 19 pp., Autumn 1929, orch. 6-7 Nov 1945, Villers.
Box 4. , Folder 135.
Mss No: 136
Quatre poèmes hindous (Durand, 1914): no. 3: 'Bénarès: Naissance de Bouddha'. Complete vocal part, copied by Koechlin.
Mss No: 137
As I walked through the meadows, arranged by Koechlin for voice and piano 'd'après la transcription de J. Cecil Sharp mais avec pas mal de changements'. n.d.
and no text.
Mss No: 138
Deux berceuses sur des thèmes indiens Nord-Amérique (transcribed by Jeanne Herscher-Clément). No. 2 is entitled 'Cheyenne Lullaby'. Copy by Koechlin for voice and piano, n.d.
Mss No: 139
15 March 1946
Letter from Koechlin to Mr. Charles Shatto, 640 Broadway, San Diego relating to Koechlin's orchestration of the
Esquisses Normandes by Shatto's late wife Catherine Urner (see MSS 134-5). Koechlin also proposes to orchestrate her
Passacaille when he has time.
Pages: 2 pages (plus envelope)
Setion 2: Music by Koechlin Copied by Catherine Urner (works from 1895 to 1935)
Date indicates the date of compostion by Koechlin.
Box 4 , Folder 139.
Mss No: I
1895, rev. July 1897, reorch. July 1931
Quatre poèmes d'Edmond Haraucourt, no. 4: 'Aux temps des fées'. Full score for T or S and small orch. transposed down a tone into E minor. Copy by Urner of Koechlin's
revised 1931 orchestration. For the original version see F-Pn MS 15633 (4).
Pages: 19 pages (plus title page)
Mss No: II
Trois mélodies, no. 2: 'La prière du mort' (poem from Les trophées by José-Maria de Heredia). Vocal score for Bar or Mezzo and pf, transposed
up a semitone into E major. In the hand of an unidentified professional copyist.
Pages: 5 pages (plus title page)
Mss No: III
Deux mélodies, no. 1: 'Hymne à Vénus' (Villiers de l'Isle-Adam). Copy by Urner of vocal line of MS 3 (Section 1), probably made in Dec 1933.
With this MS are 2 further pages of fugal sketches by Urner.
Mss No: IV
12 chorals (thèmes de Koechlin), first sketches series nos. 2-12. Copy by Urner (short scores, with no. 9 marked for org, and no. 11
for tpt and org).
Pages: 15 pages (plus two title pages)
Mss No: V
15 chorals (thèmes de Koechlin), second series nos. 1, 2, 4, 6, 8-11, 13 ('Nocturne') and 15 ('Sonnerie pour un tournoi sous François
I'). Copy by Urner (short scores, some marked for voices or org).
Mss No: VI
18 chorals (thèmes de Koechlin), third series nos. 1-4, 6-8, 10-12. Copy by Urner (short scores, some marked for voices or org).
Mss No: VII
Huit mélodies sur la Shéhérazade de Tristan Klingsor, no. 1: 'Dedicace'. Vocal part copied by Urner from MS 6 (Section 1).
Mss No: VIII
L'ancienne maison de campagne, no. 2: 'D'un vieil album', part ii: 'Reliques de deuil'. Melody line only from bar 2 to the end, copied by Urner (see MS 11
of Section 1). Plus 1 p. (crossed out), fragments of British traditional songs, copied by Urner.
Mss No: IX
Urner: 'Fugue orchestrale -"un sujet infini" (Pour Suite Symphonique)'. This subject and the 7 others here were copied by
Koechlin for later use as MS 14 (Section 1).
The first Urner subject in MS 14, used by Koechlin in his Op. 133 no. 2 and dated '30 Aug
1933', is missing from MS IX
Mss No: X
'7-8 July 1935'
p. 1: Extract from a fugue in C (?) by Koechlin, copied by Urner on '7 July 1935'. Page 2: Fugue subject in C by Urner (?),
with a theme below in Koechlin's hand, dated '8 July '.
Pages: 2 pages (oblong 1/2 pages)
Mss No: XI
? late 1935
Vocalise in D flat major by Koechlin, copied by Urner, for voice and pf. Not part of Koechlin's
Vocalise Op. 152, and so far unidentified. Perhaps written specifically for Catherine Urner.
Mss No: XII
? late 1935
Vocalise in F major (also titled Pastorale) for voice and piano by Koechlin, copied by Urner. As with MS XI this is the only known
copy of this piece, which may have been written specifically for Catherine Urner.
Section 3: Manuscripts by Other Composers (1929-35)
Box 4 , Folder 150.
Mss No: i
Trois épigrammes latines, copied by Catherine Urner. 'Sur le temps' (Sulpicius Lupercus); 'Meroe, églogue' (Calpurnius); 'Sur le tombeau d'Acis' (Pentadius).
Mss No: ii
'2 Nov-Dec 1929'
Esquisses Normandes for piano (1929). For titles and dates of movements, see MS 135 in Section 1. There are two copies of no. 1 (5 and 3 pp.)
Mss No: iii
'12 Feb 1935'
Ernest Le Grand: Song for voice and pf: 'Merci Damoiselle Catherine'.
Le Grand was rated extremely highly as a composer by both Debussy and Koechlin, whi also
made a copy of this song which is now destroyed at
F-Pkoechlin. Being an
absolute perfectionist, Le Grand destroyed all of his compositions before his death, so
that only a few publications by him have survived. It need hardly be said that autograph
MSS like nos. iii and iv. are thus extremely rare and valuable.
Mss No: iv
'19 April 1933'
Ernest Le Grand:
Souvenir en commun for pf. Autograph MS. See Note to MS iii.
Mss No: v
'5 Nov' 
Catherine Urner: Fugue subject in E flat minor 'Pour les instruments' (Fugue symetrique, see MS 40 Note). Written (in a manner
typical of Koechlin) 'dans le train de L[os] A[ngeles] à S[an] D[iego] 5 Nov - un couché de soleil tropical égayant le voyage
- palmiers contre ciel rouge-orange'.
Pages: 1 page (partial leaf)
Mss No: vi
Le lac (2 pp., melody line only), plus 4 pp. fugue subjects and worklings (incl. an extract from a prelude and fugue by Buxtehude
Pages: 6 pages (small format)
Mss No: vii
Catherine Urner: Subjects 'pour les fugues symétriques' (p. 1, see MS 40 note), with corresctions by Koechlin (autograph).
Plus 1 p. of 'basse donnée' exercizes from Koechlin's
Traité de l'harmonie (Vol. 1, 1927, p. 30 nos. 5 nad 4) realised by Charles Shatto, which Urner copied out to show Koechlin, who then corrected
them on this MS. (For Koechlin's own realisations of the same exercises, see his
Traité de l'harmonie, Vol. 3, 1928, p. 4)
Mss No: viii
Incomplete harmony exercise in G major marked 'Shatto-Urner'. Possibly copied out by Koechlin?.
Mss No: ix
'4 Sept 1935'
Catherine Urner: 3 'Sujets de fugue - modulants à la 4te augmentée'. Written in La Jolla, California.
Mss No: x
Catherine Urner: Extracts from a Mass setting setting. Various movements for mixed choir, sometimes with org.
Mss No: xi
Este é Maio, folksong arr. for voice and pf by Catherine Urner, n.d.
Mss No: xii
Tirai os achos de min, folksong arr. for voice and guitar by Urner, with additional indications suggesting a possible version for chamber orch.,
Mss No: xiii
Egyptienne (?folksong). Voice part only, copied by Urner, n.d.
p. 1: Fugue subject in C minor by Urner. 4 pages
pp. 2-3: Voice part of Henri Duparc's song: La vie antérieure copied by Urner.
p. 4: Harmonic exercise with figuresd bass copied out by Urner from Koechlin's
Traité de l'harmonie, Vol. 1 1927, p. 90.