STEFAN WOLPE COLLECTION
PAUL SACHER FOUNDATION


Auf Burg, Münsterplatz 4
CH-4051 Basel Switzerland
tel 41 61 261 66 44 fax 41 61 261 91 83


PAUL SACHER FOUNDATION FINDING LIST

Prepared by Austin Clarkson and Karen Pegley


The finding list was prepared to accompany the Wolpe papers when they were shipped from New York to the Paul Sacher
Foundation in 1993. The chronological order numbers assigned to the works were provisional. If a work consists of several parts, the
order number is followed by a period and the number of the item. After a slash there are three numerals separated by periods. The first
two numerals give the series (1.1 Orchestral Music, 1.2 Chamber Music, 2.2 Sketch, etc.), and the third numeral gives the
chronological position of the item within that series. For example, Fünf Lieder nach Friedrich Hölderlinis chronologically the tenth
item in the series Songs and Recitations (1.7), hence the siglum 15.0/1.7.10.
The Paul Sacher Stiftung prepared an inventory of the Sammlung Stefan Wolpe, with items listed alphabetically in two lists,
Textmanuskripte and Musikmanuskripte.
Subsequent additions to the Sammlung Stefan Wolpe are given in Supplements A and B.
A revised chronology of the works is provided in On the Music of Stefan Wolpe, ed. A. C. (Hillsdale, NY: Pendragon Press, in
press). In the new list some items have been rearranged chronologically and other items have been added.

ACKNOWLEDGEMENTS
Many hands assisted in bringing this catalogue to completion. Herbert Sucoff prepared the first catalogue of Wolpe's compositions
in 1969. After the fire in the composer's apartment in 1970, Roger Kiraly and Cheryl Seltzer performed an enormous task in helping to
reorganize the manuscripts. Thomas Phleps was responsbile for ordering the compositions up to 1933, and Hilda Morley Wolpe gave
generously of her advice. The inventory was completed on a grant from the Social Sciences and Humanities Research Council of
Canada.

Toronto
November 2001



Box 1 - 1.1 Orchestral Music I

99/1.1.2.13 Passacaglia for Full Orchestra, op. 23. 1937. Xerox of ms. with copyist's marking.
171.0/2.2.74.1 Symphony . 54 leaves,Pencil particell. Title page: "commissioned by Rodgers and Hammerstein/Symphony no.
2/1955. Begun about May 12, 1955. I Chanted Sequences II Fugue with Three Subjects III Animated
IV Scherzo Oblique V Grand aspects.
188.0/1.1.5.5 Piece for Piano and Sixteen Instruments. Ink on vellum masters, pp. 92-94; 96-101. Damaged. SW's
markings. 1960-1961.
188.0/1.1.5.10 Piece for Piano and Sixteen Instruments. Blackline print with composer's and others' markings. Source B1 .
188.0/1.1.5.17 Piece for Piano and Sixteen Instruments. Piano part.
202/1.1.7.5 Chamber Piece no. 2 for Thirteen Players. 1967. Autographed by Don Stewart, severely scorched.
202/1.1.7.7 Chamber Piece no. 2 for Thirteen Players. 1967. With conductor's markings.
202/1.1.7.9 Chamber Piece no. 2 for Thirteen Players. 1967. Ozalid print, severely scorched with SW's pagination in ink.

Box 2
1.1 Orchestral Music II (Oversize)


135/1.1.3.3 The Man From Midian: First Suite for orchestra. 1942. Ink on vellum; from Angie Marx 5/81.
135/1.1.3.9 The Man From Midian: First Suite for orchestra. 1942.
135/1.1.3.9 The Man From Midian: First Suite for orchestra. 1942. Blackline print. (Bound volume).
135/1.1.3.10 The Man From Midian: First Suite for orchestra. 1942. With additions and revisions not present in the
bound score.
171.0/1.1.4.1 Symphony . 1956. Pencil holograph.


Box 3
1.1 Orchestral Music III

135/1.1.3.17 The Man From Midian: First Suite for orchestra. Orchestral parts. 5 files.

Box 4
1.1 Orchestral Music

135/1.1.3.17 The Man From Midian: First Suite for orchestra. Orchestral parts. 7 files.

Box 5
1.2 Chamber Music I

91.0/1.2.5.2 [Drei ] Kleinere Canons in der Unkehrung Zweier 12-tönig Correspondierenden Hexachorde op. 24a. August
1936. Ink on paper holograph. Material removed from J. Marx Archive Dec. 1990.
120/1.2.7.2 Lied, Anrede, Hymnus, Strophe zärteste Bewegung. 1939. Ink holograph on paper.
132/1.2.8.14 Sonata für Hoboe und Klavier. Engraved score, xerox copy.
141/1.10.11.1 Quartet for clarinet, violin, viola and cello. 1944. Fragmentary sketches. 11 leaves.
145/1.10.12.1 Trio for Clarinet, Violin and Cello. June 1945. [inc.] 4 leaves.
153.1/1.2.9.9 Sonata für Violine und Klavier, op. 20 .. 1949. Blackline print of mvmt. I.
153.0/2.2.26.1 Sketches for Sonata for Violin and Piano, op. 20 .. Pencil holograph. 1 double leaf C3 Century Brand. Title
page: "Two sonatas for violin and piano." paginated 2 pages.
157.0/1.2.10.8 Twelve Pieces for String Quartet. 1950. E. Levy copy.
158.0/1.2.11.17 Quartet for Trumpet, Tenor Saxophone, Percussion and Piano. Holograph: 19 leaves; ink: 10 leaves.
172.1/1.2.13.11 Quintet with Voice. 1957. Photostat of holograph. (Mvmt. I)
172.3/1.2.13.11 Quintet with Voice. 1957. Photostat of holograph. (Mvmt. III)
185/2.2.75.1 Second Sonata for Violin and Piano. 1959. [inc.]. 1 double leaf.

Box 6
1.2 Chamber Music II

186.0/1.2.14.7 Piece in Two Parts for Flute and Piano. . Ink autograph on vellum masters.
186.1/1.2.14.9 Piece in Two Parts for Flute and Piano. . Composer's pencil notations on p. 1 & 2.
191.0/1.2.15.10 In Two Parts for Six Players. (1962). With SW's emendations. Source B3 .
191.0/1.2.15.11 In Two Parts for Six Players. 1961-2. Vellum masters made from holographic ms.
191.0/1.2.15.1 In Two Parts for Six Players. 1961-2.
191.0/1.2.15.17 In Two Parts for Six Players. 1962. Parts: piano, harp, trpt. and cello.
191.1/1.2.15.8 In Two Parts for Six Players. 1961-62. 23 assorted pages.
193/1.2.16.17 Piece for Two Instrumental Units. (1963 or 1962?). Parts: flute, cello, (piano), oboe, violin, contrabass and
percussion. 2 sets blackline prints.
193/1.2.16.9 Piece for Two Instrumental Units. 1963. 2 sets blackline print with some corrections not yet entered in D.
Stewart's transparencies.

Box 7
1.2 Chamber Music III

199/2.2.64.1 Sketch for Second Piece for Violin Alone. 6 leaves, 6 pages inscribed. Title page: "Second (but short) Piece for
Violin Alone." [1966].
201/2.2.76.1 Solo Piece for Trumpet. 1966. 1 double leaf, 3 pages inscribed. Pencil sketch of last few lines of first part.
203/1.2.23.9 From Here on Farther. 1969. Blackline print of autograph masters. Source B1 .
203/1.2.23.10 From Here on Farther. 1969. Blackline print from holograph masters with SW's emendations, mvmt. I. Source
A1/1 , bars 1-64.
203/1.2.23.11 From Here on Farther. 1969. Photostat of holograph. Bars 65-end with composer's markings. Source A1/2 .
203/1.2.23.11 From Here on Farther. 1969. Photostat of pencil holograph.
204.0/1.2.24.1 String Quartet. 1969. Pencil holograph on paper, bound. Pt. 1: m. 1-46 and m. 130-191; pt. 2: m. 189-207 (final 191-209).
204.0/1.2.24.9 String Quartet. 1969. Blackline print of autographed score.
204.0/1.2.24.5 String Quartet. (1969). With composer's markings in blue pencil.
204.0/1.2.24.17 String Quartet. 1969. Parts. Complete vellum master, damaged copies.
206.0/1.2.25.10 Piece for Trumpet and Seven Instruments. 1971. Copy of autograph score with SW's and MG's markings.
Autographed by MG.
206.0/1.2.25.1 Piece for Trumpet and Seven Instruments. 1971.
Item I: pencil draft. 4 double leaves. Schirmer 16-stave paper. Through bar 38.
Item II: pencil draft. 12-line paper. 44 pages. in maroon cover.
206.0/2.2.70 Piece for Trumpet and Seven Instruments. 1971. 1 double leaf Passantino 18-line paper. 2 pages inscribed.
206.0/2.2.70 Piece for Trumpet and Seven Instruments. 1971.
Item II: 1 double leaf Passantino 16-line paper. 2 pages inscribed. Scored for fl., eh., cl., bm., trp., pno.,
vn., va., and cb. Bars 4-7 written out in full score. Pencil holograph. Appears to be a preliminary version.
Item III: 2 double leaves, 1 Schirmer 16-line and 1 Passantino 16-line paper. Pencil autograph. Copy
begun by MG of part I. Title page inscribed by SW: "Piece for Two Instrumental Units and Chamber

Piece No. 1."
207/1.9.13.2 J.S. Bach Musical Offering (Fuga à 3) . 1937.
207/1.9.13.17 J.S. Bach Musical Offering (Fuga à 3) . 1937.

Box 8
1.3 Piano Music I

10.0/1.3.2.2 Vier Adagien , for piano. Cover page for Adagio No. 5 . 1920.
19/1.3.6.2 Andante , Op. 3a. 1925. ( Early Piece for Piano .). Manuscript includes conclusion of Stehende Musik .
26/1.3.9.5 Tango . 4 (Sept.) 1927.
30/1.10.2.2 Marsch für Klavier Vierhändig "Recht und links" . 1928. 1 leaf.
72/1.10.5.2 Deutschland, Deutschland über alles, und Variationen darüber . 1 leaf of Ashelm 266 12-line. Ink holograph
dated 1931.
79.0/1.3.14.14 Cinq marches caracteristiques , Op. 10. (1928-1934). With markings by IW.
80/1.3.15.4 Marsch und Variationen für zwei Klaviere , Op. 21. 1933. In IWR's hand. First piano part.
80/1.3.15.2 Marsch und Variationen für zwei Klaviere , Op. 21. (1933). [inc.]. Begins halfway through Variation 6.
93/1.3.16.3 Four Studies on Basic Rows. 1936. 6 leaves.
93.1/1.3.16.9 Four Studies on Basic Rows: Study on Tritones. 1936.
93.4/1.3.16.14 Four Studies on Basic Rows. Passacaglia. 1936, rev. 1972.
93.4/1.3.16.2 Four Studies on Basic Rows. Passacaglia. 1936, rev. 1972. 2 double leaves of Passantino 12-line paper. 3 pages
inscribed with revisions of bars 50-71.
106/1.3.17.3 Dance in the Form of a Chaconne. November 1938. 8 leaves.
116/1.9.3.1 Johann Sebastian Bach. Double Concerto. (S. 1043) [1938 or 1941?] Arr. for two pianos. 24 leaves.
130/1.9.8.1 P.I. Tchaikovsky. Serenade for Strings. Arr. for 2 pianos. (1941). 46 leaves.
130/1.9.8.11 P.I. Tchaikovsky. Serenade for Strings. (1941). Negative photocopy of ink holograph.
131.0/1.3.19.3 Toccata in Three Parts for Piano. (July) 1941. 23 leaves.
133/1.3.20.3 Pastorale for Piano. 4 pages. 1941.
134.0/1.3.21.9 The Man From Midian for Two Pianos. Composers markings in black and red pencil. 1942.
136/1.3.22.2 Encouragements No. 1. 1942. P. 1 missing.
159.0/1.3.28.9 Music for a Dancer. 1950. Missing movement II (Andante).
159.2/1.3.28.3 Music for a Dancer. 1950. Contains pages 2-14.
212/1.10.21.3 Fragment related to Music for a Dancer. 1950.
213/1.10.22.2 Fragment "The Face of a Man." 1 l. 9 bars of piano music.

Box 9
1.3 Piano Music II

148/2.2.21.1 Battle Piece Sketches. 7 double leaves and 2 single leaves. With ink.
148.0/1.3.23.2 Battle Piece. 1947. Ink drafts with pencil drafts.
148.0/1.3.23.9 Battle Piece. 1943-47. 60 pages. Blackline print with SW's markings on on cover and title page only.
150.0/1.3.24.1 Excerpts from Lazy Andy Ant Suite for Two Pianos. (1947).
152.0/1.3.26.8 Two Studies for Piano Part II. 1948. 4 leaves.
151/2.2.22.1 Music for Any Instruments. : Two studies for piano, part I: Displaced spaces. 5 leaves, pencil holograph, 8-line
paper from sketchbook. (1946).
151.1/1.3.25.2 Music for Any Instruments. : Three Canons. 1944. 18 leaves.
151.2/1.3.25.2 Music for Any Instruments. : About the seventh in setting for two voices. 1945-46. 4 leaves.
151.3/1.3.25.2 Music for Any Instruments. : Two studies for piano, part I: Displaced spaces. 1946.
151.4/1.3.25.2 Music for Any Instruments. : Melic exercises on fourths. 1947-48. 7 leaves.
151.5/1.3.25.2 Music for Any Instruments. : Spheres of Fourth in Three-part writing. Quarten-3 stimmig. [1946-48?]. 2 leaves.
151.6/1.3.25.2 Music for Any Instruments. : On thirds, sixths, and tenths, part 1: On thirds. 10 pages inscribed. Two title pages.
1948
151.6/ 2.2.22.1 Music for Any Instruments. : On thirds, sixths, and tenths, part 1: On thirds. Sketchbook "On thirds." pencil
holograph,9 leaves. Passantino music writing book no. 1. Contains items 2, 3, and 4 of the set of four
pieces. May, 1948.
151.8/1.3.25.2 Music for Any Instruments. :On thirds, sixths and tenths, part 3: Series of extensive pieces. 1948.
151.9/1.3.25.2 Music for Any Instruments. : On thirds, part 1: Two pieces for two voices. June 1948.
151.10/1.3.25.2 Music for Any Instruments. : On thirds, part 2. 1948.
151.11/1.3.25.2 Music for Any Instruments. : Four little pieces about the tenth for two voices.1949.
154/1.10.14.1 Set of Three Movements for Two Pianos and Six Hands. 1949. 4 leaves.
155.0/1.3.27.1 A Few Piano Pieces for Youngsters. March 1950.
160.0/1.3.29.9 Seven Pieces for Three Pianos. (February 1951). 26 leaves.
160.0/1.3.29.9 Seven Pieces for Three Pianos. (February 1951).
160.4/1.3.29.2 Seven Pieces for Three Pianos. :Moving Stiff Throughout. (February 1951).
160.0/1.3.29.10 Seven Pieces for Three Pianos. 1951.
163.0/2.2.32.1 Enactments for Three Pianos. (1953). "Early State". 9 leaves. 8 pages inscribed.
163.1/1.3.31.3 Enactments for Three Pianos. :Chant. 1953.
163.2/1.3.31.3 Enactments for Three Pianos. :In a State of Flight. 1953.
163.3/1.3.31.3 Enactments for Three Pianos. :Held In. 1953.
163.4/1.3.31.3 Enactments for Three Pianos. :Inception. 1953.
163.5/1.3.31.1 Enactments for Three Pianos. :Fugal Motions. 1953.
163.1/1.3.31.1 Enactments for Three Pianos. :Chant. 1953.
163.2/1.3.31.1 Enactments for Three Pianos. :In a State of Flight. 1953.
163.3/1.3.31.1 Enactments for Three Pianos. :Held In. 1953.
163.5/1.3.31.1 Enactments for Three Pianos. :Fugal Motions. 1953.
178/1.3.33.13 Form for Piano. 1959. Copy of pencil holograph on paper. "In possession of David Tudor".

Box 10
1.3 Piano Music III (Oversize)

163.0/1.3.31.9 Enactments. Blackline print, badly scorched. Several markings by SW.
163.0/1.3.31.1 Enactments. Pencil holograph.

Box 11
1.5 Cantatas I

21/1.5.1.2 Kantate für Baryton, Bratsche, Cello, und Kontra Bass nach 5 Gesängen der Rainer
Maria Rilke 1914. 1926. [inc.] pp. 1-7.
28/1.10.1.2 jawohl es muss die Ehrlichkeit .. (Dec.) 1928. Fragment of Cantata.

73.0/1.5.4.2 Sportrevue, Alles an den roten Start, Op.15. Siegfried Moos. 1932. 17 leaves.
123/1.5.5.1 Israel and his Land. Text: Pinski.1939. With some ink.
128/1.10.9.1 The Prophets (Cantata). Text: Tchernichowsky. 1940.
143/1.5.6.9 Yigdal. April 1945. Two blackline prints of first and last movements. 28 leaves.
146.1/1.10.13.2 Lorca Cantata: Lament for Ignacio Sanchez Mejias. [1945]. 31 leaves.
146.1/1.10.13.18 Text for Lament for Ignacio Sanchez Mejias. 15 pages, numbered 542-557.
146.2/1.10.13.1 Lorca Cantata: Shedding of the Blood. [1945].
146.3/1.10.13.1 Lorca Cantata:The Arrest of Antonio El Camborio in the Streets of Seville. [1945]. 1 dble leaf. Given by IJN to SW Archive, July 6 1981.
149/1.5.7.3 Lazy Andy Ant. 1947. Two piano score, no text. 42 leaves.
149/1.5.7.1.18 Text from Lazy Andy Ant. 1947.
149/1.5.7.17 Lazy Andy Ant. 1947. Parts: voice, 2 pianos.
149/1.5.7.16 Lazy Andy Ant. 1947.


Box 12
1.5 Cantatas II


192/1.5.8.10 Street Music: A Counter-offering to the Musical Offerings of Ten Composers on my 60th Birthday. Text: S.
Wolpe. 1962. Bound in brown covers.
192/1.5.8.17 Street Music: A Counter-offering to the Musical Offerings of Ten Composers on my 60th Birthday. Text: S.
Wolpe. 1962. 14 leaves holograph; 28 leaves autograph. Parts. Vellum masters.
192/1.5.8.17 Street Music: A Counter-offering to the Musical Offerings of Ten Composers on my 60th Birthday. Text: S.
Wolpe. 1962. Blackline prints. Parts: Fl, Cl, Vc, Pf.
192/1.5.8.17 Street Music: A Counter-offering to the Musical Offerings of Ten Composers on my 60th Birthday. Text: S.
Wolpe. 1962. Item I: Piano-vocal part. Ink on vellum masters. 15 pages. Title page missing. Item II:
Blackline print with SW's comment on t.p. Some tempo indications are added by performer. 8 leaves.
192/2.2.50.1 Street Music: A Counter-offering to the Musical Offerings of Ten Composers on my 60th Birthday. 1 double
leaf. Pencil holograph on paper.
194.0/1.5.9.5 Cantata for Mezzo-Soprano, Three Women's Voices, and Instruments. 1963. Texts: Friedrich Hölderlin,
Herodotus, Robert Creeley. 1963. With SW's additions. 32 leaves.
194.0/1.5.9.13 Cantata for Mezzo-Soprano, Three Women's Voices, and Instruments. 1963. Texts: Friedrich Hölderlin,
Herodotus, Robert Creeley. 1963. Xerox of autograph ink score.
194.0/1.5.9.17 Cantata for Mezzo-Soprano, Three Women's Voices, and Instruments. 1963. Parts: fl., cl., bm., trp., trb., vn., va.,
bc., and cb.
194.0/1.5.9.13 Cantata for Mezzo-Soprano, Three Women's Voices, and Instruments. 1963. Ink on vellum.
194.0/1.5.9.13 Cantata for Mezzo-Soprano, Three Women's Voices, and Instruments. 1963. Mvmts. II, III and IV.
194.0/1.5.9.13 Cantata for Mezzo-Soprano, Three Women's Voices, and Instruments. 1963. Title page and mvmts. I, III and IV.
Photocopy of pencil holograph.
194/1.5.9.1.8 Cantata: New World (Hölderlin). Conductor's score.

Box 13
1.4, 1.6 Theater Music I

31/1.6.2.2 An Anna Blume von Kurt Schwitters . Kurt Schwitters. Mar. 1929. 2nd copy ms. complete.
38.0/1.4.2.2 Schöne Geschichten , Op. 5b. Wolpe, Otto Hahn. 1927-1929. Second piano part on paper, holograph ink on
paper. 28 leaves.
38.0/1.4.2.18 Schöne Geschichten , Op. 5b. Wolpe, Otto Hahn. (1927-1929). Text.
56.0/1.6.3.2 Die Passion eines Menschen. Ludwig Renn. 1931. Dance drama, Hans Weidt Tanzgruppe. 26 leaves.
57.0/1.6.4.17 Musik zur Die Mausefalle, Op. 18a. Gustav von Wangenheim. (1931). Piano part, holograph ink on paper, 26
leaves.
74.0/1.6.5.1 Musik zur Da liegt der Hund begraben, Op. 18b. Wangenheim. 1932. Full score.
74.0/1.6.5.17 Musik zur Da liegt der Hund begraben, Op. 18b. Wangenheim. 1932. Piano score and parts (incomplete),
holograph, ink on paper.
78.0/1.6.6.1 Musik zur Wer ist der Dümmste? Op. 18c. Wangenheim. 1933. Theatre revue, Truppe 31. Also with ink.
208/1.10.17.2 Refugès-Scene. [Passion?]. 1 leaf.

Box 14
1.6 Theater Music II

82.4/1.6.7.2 Incidental Music for Molière's "Eingebildeten Kranken" [La Malade imaginaire]:Overture Act 3: Schlafmusik
in Form einer Passacaglia auf einem Bass vo nSchoenberg's Streichquartette, op. 10. 1934.
129.0/1.6.8.6 Palestine. Composed with Trude Rittman. 1941. Holograph/autogrph score. 32 leaves.
164/1.6.9.2 Incidental Music fromThe Good Woman of Setzuan. (1953). 1st perf. 28 Feb. Originals, ink has run badly.
Additional Music.
164.0/1.6.9.5 Incidental Music fromThe Good Woman of Setzuan. 1953. 1st perf. 28 Feb.
164.0/1.6.9..8 Incidental Music fromThe Good Woman of Setzuan. (1953). 1st perf. 28 Feb. Missing: one page of one copy of
Song of the Waterseller. 2 copies.
167/1.6.10.1 Incidental Music for Faust Foutu. Robert Duncan. [November] 1954. [inc.].
173/1.6.12.1 Music for King Oedipus: Music of Introduction and Setting the frame to the
choruses. November 1957. [inc.]. 19 leaves.
173/1.6.12.17 Music for King Oedipus: Music of Introduction and Setting the frame to the
choruses. November 1957. [inc.].
174/1.6.13.1 The Hour Glass. Text: Yeats. Recitation with piano. Oct. 1958.
174/1.6.13.2 The Hour Glass. Text: Yeats. Recitation with piano. 1959. 1 double leaf of Passantino 14-line paper.
187.0/1.6.14.1 Music for The Tempest. (Shakespeare). With Raoul Pleskow. (1960). Incomplete, disbound volume with
additions by Paoul Pleskow.
210/1.10.19.1 Overture to the Noh Play, Hanjo . 1962.

Box 15
1.7 Vocal Music I

15.0/1.7.10.2 Fünf Lieder von Friedrich Hölderlin , Op. 1. 1924, 1927; revised 1935. Revidiert (Umgearbeitet).
17.0/1.7.11.2 Drei Lieder nach Heinrich von Kleist . (Aug.- Sept). 1925.
20/1.7.12.2 Als er gegen seine Schöne . 1925. Klopstock. [inc.] 3 leaves.
22.0/1.7.13.2 Neun Vertonungen aus Gitanjali von Rabindranath Tagore . 1926. [inc.] Missing pp. 49-52, 55-58 and 67. Plus
loose fragments. Very serious char. damage. Only 5 of 9 songs are intact.
3.4.8 Ein Paar Nette Songs, 1929. (Ink holograph). Title page with comment on performance of the songs. 1 leaf.
41/1.7.18.2 Ansprache einer Bardame . Erich Kästner. [1929?]
42/1.7.19.2 Brief eines Dienstmädchens mit Namen Amalie . Erich Kästner. 1929.
43/.01.7.20.2 Drei Lieder von Willi für Alt und Klavier , Op. 8. Willi Bär Wolpe. 1929.
44/1.7.21.2 Der Hungerkünstler. Max Kolpe. 1929.
45.0/1.7.22.2 Zwei Lieder von Ernst Ottwald . [1929?] [inc.]
47/1.10.3.2 Kein Dirnenlied. Hammerschlag. 1929. [inc.] Song refrain. 2 leaves.
49/1.7.23.2 Auch die kleinste Tat . Hans Eckelt. Jan. 1930.
50/1.7.24.2 Auftrittsmarsch . Agitproptruppe "Roter Stern." n.d. 2 leaves.
51/1.7.25.2 Bauernlied . Thomas Ring. 1930. 3 leaves.
52.0/1.7.26.2 Drei Arbeitslieder von Thomas Ring , Op. 9. 1929-1930. Title page only.
53/1.7.27.2 Lied des ATBD . Max Jensen. [1930?] 3 leaves.
55.0/1.7.29.2 Zwei Lieder von Johannes R. Becher . [1930?]
58/1.7.30.2 Rotes Spartakiade-Lied . Max Stolle. [July?] 1931.
59/1.7.31.2 Antikriegslied. Ludwig Renn. n.d.
60/1.7.32.2 Freches Liedchen . Ludwig Renn. 1931.
61/1.7.33.2 Haben Sie Kummer . [Agitproptruppe "Roter Wedding."] 1931.
62/1.7.34.1.2 Lied der Arbeiter-Musiker . Franz Boensch. [1930/31].
66/1.7.37.2 Ob du an der Maschine stehst. Franz Boensch. 1931. 2 leaves.
69.0/1.7.40.2 [Zwei Einstimmige Marschlieder ]. n.d.
75.4/1.7.41.2 Acht Lieder auf Texte von Heine, Ottwald, Weinert, und anderen ,
Op. 12: Die Herrn der Welt . Erich Weinert. 1931. Source A
75.5/1.7.41.2 Acht Lieder auf Texte von Heine, Ottwald, Weinert, und anderen ,
Op. 12: Wir, die Berliner Metallarbeiter. Walter Hoffmann. 1930. Source A.
75.6/1.7.41.2 Acht Lieder auf Texte von Heine, Ottwald, Weinert, und anderen ,
Op. 12: Wir sind entlassen [Bankenlied]. J.-B. Clément-Siegmar Mehring. 1932. Source A.
75.8/1.7.41.2 Acht Lieder auf Texte von Heine, Ottwald, Weinert, und anderen ,
Op. 12: Alle für alle [Lied des 1. Mai]. Erich Weinert. 1931. Last page only. Source A.
75.1/1.7.41.2 Acht Lieder auf Texte von Heine, Ottwald, Weinert, und anderen ,
Op. 12: Erst haben sie. Ernst Ottwald. 1929. Source B.
75.2/1.7.41.2 Acht Lieder auf Texte von Heine, Ottwald, Weinert, und anderen ,
Op. 12: Das Lied vom Abbau . Erich Weinert. 1931. Source B.
75.4/1.7.41.2 Acht Lieder auf Texte von Heine, Ottwald, Weinert, und anderen ,
Op. 12: Die Herrn der Welt . Erich Weinert. 1931. Source B.
75.5/1.7.41.2 Acht Lieder auf Texte von Heine, Ottwald, Weinert, und anderen ,
Op. 12: Wir, die Berliner Metallarbeiter. Walter Hoffmann. 1930. Source B.
75.6/1.7.41.2 Acht Lieder auf Texte von Heine, Ottwald, Weinert, und anderen ,
Op. 12: Wir sind entlassen [Bankenlied]. J.-B. Clément-Siegmar Mehring. 1932. Source B
75.7/1.7.41.2 Acht Lieder auf Texte von Heine, Ottwald, Weinert, und anderen ,
Op. 12: Die schlesischen Weber. Heinrich Heine. 1929. Source B.
75.8/1.7.41.2 Acht Lieder auf Texte von Heine, Ottwald, Weinert, und anderen ,
Op. 12: Alle für alle [Lied des 1. Mai]. Erich Weinert. 1931. Source B.
76/1.7.42.2 Arbeit und Kapital. Martin Lindt. 1932.
77/1.7.43.2 Stempellied. Martin Lindt. n.d. [1932]
209/1.10.18.1 Stark ist die Mauer [Agitprop Song]. n.d. [1930-33?].

Box 16
1.7 Vocal Music II

89/1.7.45.2 We Are One Driven Tortured Flock . Anon. text. Eng. trans: Sulamith Sitarfskin. 1935.
95/1.7.47.2 Ve Hinehu. Rachel. [1936]. 2 leaves.
96/1.7.48.4 Sim Shalom. 1936. 1 leaf.
97/1.7.49.4 Tsedaktem Habonim (You were right) . Saul Tchernichovsky. Eng. trans: Hilda Morley Wolpe. (1936).
97/1.7.49.1.4 Tsedaktem Habonim (You were right) . Saul Tchernichovsky. Eng. trans: Hilda Morley Wolpe. 1936. Second
version different from first.
104.1/1.7.51.1 Zwei Lieder für Bass und Klavier: Die Reichen sich das Rechtserfruen. Text: Miculás Daciskey von Heslova.
1938
104.2/1.7.51.1 Zwei Lieder für Bass und Klavier: An Dich. Text: Walt Whitman. March 1938.
104.1/1.7.51.4 Zwei Lieder für Bass und Klavier: Die Reichen sich das Rechtserfruen. Text: Miculás Daciskey von Heslova.
104.2/1.7.51.2 Zwei Lieder für Bass und Klavier: An Dich. Text: Walt Whitman. March 1938.
105/1.7.52.2 Zor hamor dodi. (Song of Songs). (June 1938). 2 leaves.
105/1.7.52.4 Zor hamor dodi. (Song of Songs). (June 1938). 2 leaves. With SW's editions.
105/1.7.52.17 Zor hamor dodi. (Song of Songs). (June 1938). 2 parts for cl. and voice. 3 leaves.
107/1.7.53.4 Epitaph. Text: Serubavel. Eng. trans: Hilda Auerbach. (March 1938). (Perach ki Perach).
107/1.7.53.18 Epitaph. Text. Trans. Hilda Morley Auerbach.
109/1.7.55.18 If It Be My Fate. Trans. Hilda Morley Auerbach.
111/1.7.57.4 La-Menatzeach al Ha-Mecholot (To the Dancemaster). Chaim Nachman Bialik. 1938.
111/1.7.57.17 La-Menatzeach al Ha-Mecholot (To the Dancemaster). Chaim Nachman Bialik. 1938. Parts.
112.0/1.7.58.18 Six Songs from the Hebrew. (1938. 1954). Texts.
112.1/1.7.58.4 Six Songs from the Hebrew: Lilacs. Noach Stern. (April 1938). In IW's hand.
112.1/1.7.58.8 Six Songs from the Hebrew: Lilacs. Noach Stern. (April 1938).
112.1/1.7.58.9 Six Songs from the Hebrew: Lilacs. Noach Stern. (April 1938). Removed from J. Marx archive Dec. 1990.
112.2/1.7.58.9 Six Songs from the Hebrew: On a mural by Diego Rivera. Noach Stern. March 1938. Marked: "My only copy."
Version on G.
112/1.7.58.2.9 Six Songs from the Hebrew: On a mural by Diego Rivera. Noach Stern. March 1938. Version on G, different
from above.
112.2/1.7.58.4 Six Songs from the Hebrew: On a mural by Diego Rivera. Noach Stern. March 1938. Version on A.
112.2/1.7.58.9 Six Songs from the Hebrew: On a mural by Diego Rivera. Noach Stern. March 1938. Version on A.
112.2/1.7.58.18 Six Songs from the Hebrew: On a mural by Diego Rivera. Noach Stern. March 1938. Trans. Hilda Morley
Auerbach.
112.3/1.7.58.3 Six Songs from the Hebrew: David's lament over Jonathan. Biblical text. 1954.
112.3/1.7.58.9 Six Songs from the Hebrew: David's lament over Jonathan. Biblical text. (1954). (Early Version).
112.3/1.7.58.9 Six Songs from the Hebrew: David's lament over Jonathan. Biblical text. (1954). (Later version).
112.3/1.7.58.18 Six Songs from the Hebrew: David's lament over Jonathan. Biblical text. (1954). Texts in Hebrew and English.
112.4/1.7.58.2 Six Songs from the Hebrew: Lines from the Prophet Michah. Biblical text.
112.4/1.7.58.9 Six Songs from the Hebrew: Lines from the Prophet Michah. Biblical text. With SW's addns. 5 leaves.
112.4/1.7.58.18 Six Songs from the Hebrew: Lines from the Prophet Michah. Trans. Hilda Morley Auerbach.
112.5/1.7.58.3 Six Songs from the Hebrew: Isaiah. Biblical text. Vellum masters.
112.5/1.7.58.8 Six Songs from the Hebrew: Isaiah. Biblical text.
112.5/1.7.58.9 Six Songs from the Hebrew: Isaiah. Biblical text. Removed from Marx archive Dec. 1990.
112.6/1.7.58.2 Six Songs from the Hebrew: Song of Songs. Biblical text. Lacks 2 pages. 10 leaves. Text by another hand.
112.6/1.7.58.9 Six Songs from the Hebrew: Song of Songs. Biblical text.
117.2/1.9.4.2 [Palestinian Songs]: Tel Aviv hi ir yhudit (Tel Aviv is a Jewish City). 2 leaves.
118/1.10.7.1 Orechower Herren euch wird Gottbestrafen . [inc.] n.d. [1938?] Bound with Zwei Lieder für Bass und Klavier .
121.0/1.7.59.2 Psalm 64 and Isaiah Chapter 35. May 1939.
121.0/1.7.59.9 Psalm 64 and Isaiah Chapter 35. (May) 1939. 19 leaves.
121.1/1.7.59.17 Psalm 64, "Hear my voice, O God, in my prayer." April 1939. Piano part, holograph, ink on paper.
122.1/1.7.60.2 Declamation[en] für Sprecher und Klavier: Mesiken is dein Bruch. 2 leaves. July 1939.
122.2/1.7.60.2 Declamation[en] für Sprecher und Klavier: Ich wel dich noch Oifbauen (No.6). 4 pages. Aug. 1939.
122.3/1.7.60.2 Declamation[en] für Sprecher und Klavier: A Leib is Aufgegangen (No. 6). 3 pages. July 1939.
124.0/1.7.61.2 Two Songs of Bialik. (October 1939). 9 leaves.
124.0/1.7.61.17 Two Songs of Bialik. (October 1939). Piano part.
125.0/1.9.5.3 [Hebrew Song Arrangements] [1939]. Arr for piano and voice. 14 leaves.
126.1/1.9.6.2 Three Time Wedding : Jiddische Hochzeit.
126.2/1.9.6.4 Three Time Wedding : Jemenite dance no. 1 (Andante con moto).
126.3/1.9.6.4 Three Time Wedding : Jemenite dance no. 2. May 1939.
126.4/1.9.6.4 Three Time Wedding : Halevi (Jemenite song) (Andante).
126.5/1.9.6.2 Three Time Wedding : Horra, music by Sarah Osnath Halevy.
126.6/1.9.6.2 Three Time Wedding : Jemenite dance IV (con moto). May 1939.
126.7/1.9.6.2 Three Time Wedding : Arabische Tanzen no. 1.
126.8/1.9.6.2 Three Time Wedding : Arabische Tanzen no. 2.
140.1/1.9.9. Arrangements of Folk Songs for Sarah Gorby: Malaguenas (Arr. no. 6). 3 pages. Dec. 1943.
140.2/1.9.9. Arrangements of Folk Songs for Sarah Gorby: Melodie hebraique (Arr. no. 7). 3 pages. Dec. 1943.
140.3/1.9.9. Arrangements of Folk Songs for Sarah Gorby: Le coeur de ma vie (Arr. no. 8). 2 pages. Dec. 1943.
140.4/1.9.9. Arrangements of Folk Songs for Sarah Gorby: Arrangement [0] in C minor. 3 pages.
140.6/1.9.9.2 Arrangements of Folk Songs for Sarah Gorby: Arrangement in E minor. 4 pages.

Box 17
1.7 Vocal Music III

137.0/1.7.62.2 Simple Music with Definitely Political Intentions for piano, band, or any other instrumental combination. 1942.
Piano part, vocal part lacking text.
144.0/1.7.64.2 Zwei Lieder aus Gedichte von Berthold Viertel. April 1945.
144.0/1.7.64.3 Zwei Lieder aus Gedichte von Berthold Viertel. (April) 1945. Vellum masters except p. 12. 11 leaves.
144.0/1.7.64.9 Zwei Lieder aus Gedichte von Berthold Viertel. (April) 1945. Lacks p. 12. 11 leaves, scorched.
156/1.7.66.3 Excerpts from Dr. Einstein's Address about Peace in the Atomic Era. [Feb.-Mar.] (1950). Vellum masters.
156/1.7.66.13 Excerpts from Dr. Einstein's Address about Peace in the Atomic Era. [Feb.-Mar.] (1950). Vellum masters.
161/1.10.15.1 Why Not? n.d. [1950s]. Piano part, no vocal line. 2 leaves.
164.0/1.7.67.8 Six Songs from the Good Woman of Setzuan. Voice and piano complete.
170/1.7.68.1 Apollo and Artemis. Ezra Pound. For voice and piano. [May] 1955.
170/1.7.68.1 Apollo and Artemis. Ezra Pound. For solo voice.[May] 1955.
179/1.7.69.3 Music for Medium Voice and Piano. 1959. [From Peer Gynt? ] 4 leaves.
179/1.7.69.8 Music for Medium Voice and Piano. 1959. [From Peer Gynt ?]
180/1.7.70.1 Singables: Untitled Fragment. Text missing: [William Blake]. 1959. 1 leaf.
181/1.7.71.1 The Angel. Text: William Blake. [1959?]. (Singables 2).
190/1.7.73.3 To a Theater New. [inc.]. Also enclosed: blackline print.
190/1.7.73.8 To a Theater New. [inc.]. Also enclosed: blackline print.
198.0/1.9.12.13 Bertolt Brecht. Songs from Die Hauspostille. Arrangements. 1964-65. Xerox copies of holograph ms. with
composer's emendations.
198.0/1.9.12.18 Bertolt Brecht. Songs from Die Hauspostille. 6 leaves.
198/2.2.63.1 Songs from Die Hauspostille. 13 leaves, 15 pages inscribed. Bertolt Brecht.

Box 18
1.8 Choral Music

86/1.8.4.2 Olam Chadash. Ludwig Renn. Trans: Sinai Leichter. [1934?]. Piano part.
87/1.8.5.1.2 Ve aba amar. 1934. Unison choral for Kibuz Ein Harod. Piano part. 2 leaves.
101.1/1.8.9.14 Four Songs from Ballad of the Unknown Soldier, op. 27 .Zot Hi Habaladah (Life flows onward) . Text: Moshé
Lifshitz. English text underlaid in pencil by SW.
101.2/1.8.9.14 Four Songs from Ballad of the Unknown Soldier, op. 27 .Al Admateinu (On this our blessed land) . Text: Moshé
Lifshitz. English text underlaid in pencil by SW.
103.0/1.8.11.2 Zwei Chinesischen Grabscriften (Two Chinese Epitaphs for Mixed Chorus and Drums), op. 25 . Ger. text:
Louise Peter. Bound in grey covers. 1937.
115.0/1.9.2.14 Four Hebrew Choral Arrangements . 1938.
90/1.8.6.14 Ali B'eir (The Well) . Nathan Bialik. 1935.
113/1.8.12.14 Bim Komoteinu (We Have a Court of Justice) . Text: Gerhard Hauptmann. Trans: Nathan Altermann. 1938.
113/1.8.12.14 Bim Komoteinu .(Men whose boast it is.) English Text: James Russell Lowell. Adapted by HC.
114/1.8.13.14 Shir Hanapach (Song of the Blacksmith) . Nathan Altermann. 1938.
165.0/1.8.15.9 Three Pieces for Mixed Chorus with Words from the Bible and a Piece by Gershon Shofman. [Jan.-Feb.?]
(1954). Signed SW.
175/1.8.16.3 Dust of Snow (The Way a Crow). Text: Robert Frost. (1958). 3 leaves.
175/1.8.16.8 Dust of Snow (The Way a Crow). Text: Robert Frost. (1958). 2 leaves.
175/1.8.16.2 Dust of Snow (The Way a Crow). Text: Robert Frost. (1958). Piano part.
183/1.8.17.1 All-Wielding God. (1959).
183/1.8.17.9 All-Wielding God. (1959).
184/1.8.18.3 When Evening Falls. n.d. [1959?]. Eb version. 2 leaves.
184/1.8.18.9 When Evening Falls. n.d. [1959?]. 3 leaves. E version.
184/1.8.18.1 When Evening Falls. n.d. [1959?]. Piano part.

Box 19
1.1, 1.2, 2.2, 4.1, 4.4 (Oversize)

193/1.2.16.7. Piece for Two Instrumental Units. (1963 or 1962?). Incomplete.
193/1.2.16.8 Piece for Two Instrumental Units. (1963 or 1962?). Damaged.
193/1.2.16.10 Piece for Two Instrumental Units. (1963 or 1962?). Bound.
2.2.2.1 Jerusalem Sketchbook . Including sketches for [Drei ] Kleinere Canons in der Umkehrung Zweier 12-tönig
Correspondierenden Hexachorde. (91). [1935-37]. 35 leaves.
4.1.1.14 Poster for "Der Kaufmann von Venedig." [1926?].
4.4.1.2 Happy Birthday to Stefan Wolpe from Lou Harrison. [1952?].
81.0/1.1.1 [Zwei ]Studien für Grosses Orchester. 1933.
188.0/1.1.5.1 Piece for Piano and Sixteen Instruments. 1961.

Box 20

2.1 Teaching Materials and Musical Examples for Lessons
2.2.Sketchbooks, Sketches and Notebooks (with music)
2.1. 4.1 Transcription of Medieval/Renaissance motet. [late 1950s].
2.1.5.1 Analysis of Bach, Fugue No. 1 in C major from Well Tempered Klavier I and Schönberg Op. 19, No. 2.
Intervallic complement terminating the phrase. 11 leaves from a ring bound notebook. 12-line paper.
2.1.6.1 Misc. Lecture Notes. "Extreme geometrical austerity..." 1 page. n.d.
2.1.8.1 Notes on Teaching. pencil, 1 page, numbered "5". n.d.
2.1.11.18 Stichworte aus Kursen. Teaching material. 1 page typed text. n.d.
2.2.2.1 Jerusalem Sketchbook . Including sketches for [Drei ] Kleinere Canons in der Umkehrung Zweier 12-tönig Correspondierenden Hexachorde . 35 l. [1935-37]
2.2.4.1 Sketches for The Man from Midian . B. 3 p. Carl Fischer 12-line paper No. 110 A. Title "Moses" (p. 1), "Die
Auswegslose Erschütterung" (p. 2). Both pages sketching similar material but not found in the final v
ersion. Source was among papers stored by J. Marx. Cf. C128 The Prophets p. 1 "Die Auswegslose
Erschütterung Vorspiel zu Mosche."
2.2.5.1 Brecht Lieder Sketchbook [no. 1]. On cover: "Skizzen zu den Drei Brecht Liedern." 21 leaves. 1943.
Carl Fischer Spiral Music Writing Book. No. 106.
2.2.6.1 Brecht Lieder Sketchbook [no. 2]. 19 leaves. 1943. Carl Fischer Spiral Music Writing Book. No. M.B.9.
2.2.7.2 Sketchbook. Includes sketches for Brecht Lieder. On cover "Whitman Cantata Skizzen". 12 leaves.
Also includes pencil. n.d. [1943]. Carl Fischer Spiral Music Writing Book. No. 107.
2.2.8.1 Sketchbook. "Quartet Skizzen," f. 7r. 16 leaves. n.d. [1944?]. Carl Fischer Spiral Music Writing Book. No. 105.
141, 141, Quartet for cl, vn, va, vc.
2.2.9.2 Sketchbook. On cover: "412 Cathedral Parkway" on cover. 10 pages inscribed. Spiral Superior Manuscript
Book No. 4. Includes chordal structures, draft of 12 bars of piece in 3/4, and exercises for students in
harmony and counterpoint]. [1943-45?] Gift of IWR, 7.81.
2.2.10.1 Yigdal Sketchbook [no. 1]. On cover: "Yigdal Skizzen" 21 leaves inscribed. (1945.) G. De Steffano Sons
Music Writing Book No. 1. C143.
2.2.12.2 Sketchbook "Modelle der Trios." With pencil, 14 p. [1945].
2.2.15.1 Sketchbook Edwin Hymowitz. Presser's First Music Writing Book. 3 pages inscribed. two with sketches for
original music, one with harmony exercise. [1945?].
2.2.16.1 Sketchbook "Lorca Cantata, First Part." Presser's First Music Writing Book. 9 pages inscribed. [1945]. C146.
2.2.17.1 Sketchbook "Skizzen für Lorca Cantata " and "Contrapunct buch der Irma" on back cover. Spiral Music
Notebook No. 748. 13 pages inscribed. [1945].
2.2.18.1 Sketchbook "Auf teilbarkeiten." Presser's First Music Writing Book. 12 leaves, 4 pages inscribed. [1945?]
2.2.19.1 Sketches for Lazy Andy Ant . 2 leaves, 3 pages inscribed. [1947].
2.2.20. 1 Lessonbook with Student Roster. 10 leaves [1947?].
2.2.22.1 Item I: Sketchbook. "About Thirds last piece, Sixths." (About Thirds, Part 1: Two Pieces for Two Voices, no.
2), 1948; On Thirds, Sixths and Tenths, Part 2: On Sixths, no. 1), 1948. Passantino Music Writing Book,
No. 2.
2.2.23.1 Sketch. Seven Pieces on Thirds, Part II. 10 leaves, 20 p. inscribed . 1948. Plus sketches for two piano
work.
2.2.24.1 Sketchbook "5-1948". Carl Fisher Spiral Music Writing Book. No. 106. 6 leaves, 12 p. inscribed. p. 1, "The
Either - Distance of the Tenth." p. 3-12, sketch of 3-part piece (Violin Sonata?).
2.2.25.1 Sketchbook "About Tenth." Schirmer's Music Writing Book No. 22. 12 leaves, 12 pages inscribed. Sketches for
Four little pieces about the 10th, nos. 2-4. [1949].
2.2.28.1 [Sketchbook Retrogrades]. "Situation Distanzen." Carl Fischer Music Writing Book, No. 106. 25 p. inscribed.
1948. Includes sketches for On Thirds, Sixths, Tenths: On Sixths, no. 4, Scherzo, to bar 7. 7, no. 4. Sketch for Retrogrades.
2.2.29.1 Set of "Retrogrades." Ink holograph, 2 double leaves, 5 pages inscribed, Carl Fischer, 12-line. 1948.
2.2.30.1 Sketches for piano work for six hands. Source A. 8 leaves. 1949. 5 pages Passantino 14-line, 4 p. C3 Century
12-line. Title page ":Studies for the 6 Hands Work, Sept-Nov 1949." Dedicated to Irma Wolpe, Jack
Maxin, and David Tudor." 8 p. of music, "Examples 1-10" Examples 1-5 not dated, examples 8-11
dated Oct. 20-21. 1949. Sept. - Nov. 1949. (154). 1 additional p., 12-line paper, "Allegro moderato" for
1 piano, dated Oct. 20.
2.2.33.1,2 Sketches for Enactments (Rhythmic Charts). 105 leaves. Many sheets are the work of Hans Rademacher.
[1951].
2.2.34.1 Theoretical Sketches. 1948-50.
1. 6 leaves, 12-stave notebook paper. No mark. 10 p. inscribed with row forms.
2. 5 leaves of Theodore Presser, Clarke's Music Tablet. 6 p. inscribed with row forms.
3. 14 leaves, from a wire-bound oblong notebook. 27 p. inscribed with row forms and melodic material.
2.2.35.2 Sketches for Orchestral Work. 5 single, 3 double leaves, 12-line paper from notebook. n.d. [1955?].
2.2.36.1 Sketches for Quintet with Voice? 2 double leaves.
2.2.37.1,2 Ibiza Sketchbook. 30 leaves. 1959. "Asymmetrical Structures." Cahier de Musique sketchbook.
2.2.38.1,2 Sketch for Form for Piano. 1 leaf, 2 p. inscribed. 1959.
2.2.39.1
Neue Studien, New Studies concerning Inter-Distances Crossing/Cutting Proportions/The articulation of
motion in space in particular. Pencil. 4 leaves, King Brand 20-line paper. 5 p. inscribed with studies in
proportions. A fifth page inscribed in much later hand Some few notes on divisions". 1959.

Box 21

2.2 Sketchbooks, Sketches and Notebooks (with music)
2.3 Student Lessonbooks
2.2.40.1 Sketch for Piece in Two Parts for Flute and Piano .
Item I: "Flöten stück." 1 leaf, 2 pages inscribed. Passantino 12-line paper. [1960]
Item II: Row forms for Piece in Two Parts for Flute and Piano . 1 leaf, 10 lines torn off page of 14-line
paper with row forms of part I [1960]. C186.1.
2.2.41.1 Sketch for Piece in Two Parts. 5 leaves, Passantino 12-line paper.
2.2.42.1 Notebook "To alienate the set..." Sketches for Piece in Two Parts for Flute and Piano.". Pencil. 7 leaves
Schirmer 10-stave loose-leaf paper and 1 leaf 12-stave paper. [1960].
2.2.43.1 Sketchbook "Flute Piece Second Part". ("Set up of spatial constellations of each of the series"). Carl Fischer
Music Writing Book No. 106. [1960].
2.2.44.1 Memo book for TheTempest. (Music for The Tempest.). 17 pages inscribed.[1960]. C187.
2.2.45.1,2
Sketches forPiece for Piano and Sixteen Instruments.
Item I: Row forms 1 leaf. ink. [1961].
Item II: Sketch for bars 29-30. 1 leaf. pencil. [1961].
2.2.46.18,1
Sketch for The Exception and the Rule. 1 leaf. Typescript of revised lyrics with SW's pencil notations of
melodic materials. Sept. 1961.
2.2.47.1
Sketchbook leaves [Proportional Studies]. "in the twenties". 41 leaves, 55 pages inscribed. 41 leaves, 55
inscribed. [1962].
2.2.49.1
Black looseleaf binder. 13 leaves, 9 inscribed. Includes sketch of Piece in Two Parts in Six Players.
around bar 60? [1962].
2.2.51.1 Bloc Musica Sketchbook. Sketches forPiece for Two Instrumental Unitsand Cantata. 18 p. 1962-63.
2.2.52.1 Sketchbook for Piece for Two Instrumental Units.. 1963. 37 pages, 26 p. inscribed. Carl Fisher Spiral
Music Writing Book. No. 109.
2.2.53.1,2 Sketchbook forPiece for Two Instrumental Unitsand other pieces. 11 leaves, 6 pages inscribed.
Passantino Music Writing Book "Joshua Pierce (Harmony)". [1963]. [Sketches for Chamber Piece No.
2,Solo Violin Piece?]
2.2.54.1
Sketches for Cantata. 3 half leaves Passantino 16-line paper. Leaves 2 and 3 contain row forms. Title page:
"Two piece of the Cantata." Leaves 2 and 3 contains row forms. 1963.
2.2.55.1 Sketches for Chamber Piece No. 1. [ca. 1963]. Schirmer Wire Bound No. 1.
2.2.56.1 Sketch for Chamber Piece No. 1. 1 double leaf, Parchment 20-line. p. 1, "Stefan Wolpe, Spring 1964," p. 2, bar
1. 1964.
2.2.59.1
Sketchbook. On cover: "585-4080." 62 p., 16 p. inscribed. Schirmer's Wire Bound Music Writing Book 101.
[1964?]. Sketches unidentified.
2.2.61.1 Pitch Protocol Trio for Flute, Cello and Piano. 1 double leaf, Passatino 14-line. 1964.
2.2.62.1 Sketchbook. 15 leaves, 8 pages inscribed. National Music Notebook No. 31-005. n.d. [mid 1960's]
2.2.65.1 Sketch for Chamber Piece No. 2.
Item I: Row forms. 1 double leaf. Forest Brand 12-line. includes b. 1-4.
Item 2: sketch material. 1 single leaf. Passantino 20-line, Chamber Piece no. 2 row forms, bars 1-4.
2.2.69.1 Sketchbook. Sketch for Piece for Trumpet and Seven Instruments. 36 leaves, 15 p. inscribed. P. 1, bars
22-23. [1970]. Schirmer wire bound music writing book No. 101.
2.2.72. Miscellaneous Sketches. Loose sheets.
2.2.74.1 Sketches for a work for Piano? 4 leaves Passantino 12-line, 2 leaves Parchment 20-line paper and 1 leaf King
Brand 12-line. Leaves are identified by page references to a score, p. 7, 26, 27, 29, 40, 47 and 51.
2.2.75.1 Corrections and Rhythmic Charts for Piece for Oboe, Cello, Percussion and Piano. 12 leaves and cover. 1955.
2.3.2.1,2 Music notebook. "Für meine täglichen Klavier Player." 4 leaves, 8 pages inscribed. [ca. 1937].
2.3.5.1 Student Lessonbook "Jack Maxin". 14 leaves. Contains Sketches by SW. April, 1944. Presser's First Music
Writing Book. With exercises by IW and sketches by SW.
2.3.11.1 Irma Wolpe's Lesson Book. 34 leaves. (Also includes Little piece by Wolpe).
May 1946. The Spiral Music Book No. 748.
2.3.12.1 Lessons in Composition. My examplesWolpe-Lacy Lesson Book. 45 pages. Schirmer's Music Writing Book.
No. 21. 1947.
2.3.16.1 Nelson Hyde Exercise Book. 16 pages inscribed on Passantino Music Writing Book No. 3. Used by IWR.
Composition lessons.

Box 22

2.4Analyses of Music by Other Composers
2.5 Analyses of Music Scores
2.4.1.1 Analysis of Babbitt, Quartet. no. 2. 6 leaves Parchment Brand 20-line paper. n.d.
2.4.2.1 Analysis of BachFugue in f minor. 2 leaves passantino paper. n.d.
2.4.3. 1 Analysis of Beethoven Sonata, Op. 101. 15 pages. n.d. [1945].
2.4.4.1 Analysis of Beethoven Sonata, Op. 81. 2 pages, passantino paper. n.d. [1964].
2.4.5. 1 Analysis of Debussy, Des pas sur la neige. pencil. 1 leave 20-line paper, no mark. "The multiple engagements
of tones."[1960?].
2.4.6.18 Analysis of Jakoby, Quartet No. 2.. 4 pages typed notes with holograph writing in pencil. 1938.
2.4.7.1 Analysis of Schönberg Piano TrioandViolin Concerto. 1 leaf (2 pages). Parchment Brand, 20-line paper. [early
1950s].
2.4.8.1 Early analyses of Szymanowski Op. 60; Mahler, Ravel, Sessions). 38 pages. n.d.
2.4.9.1 Analysis of Webern Cantata. 43 pages, 16 inscribed. n.d.
2.5.5.14 Beethoven,Op. 111. 19 pages. n.d.
2.5.7.14 Schönberg Suite, op. 25. 8 p. score with 6 pages inscribed plus 6 pages Passantino Brand 12-line paper of
Wolpe's markings.
2.5.8.14 Sessions, Sonata for Violin. 8 p. inscribed score plus 5 pages King Brand 12-line paper and blank paper with
Wolpe's markings.
2.5.9.14 Webern, Quartet Op. 22. 15 pages. Includes 1 page of 12-line Passantino paper with row forms.
2.5.10.14 Webern,Variations for Piano, Op. 27. 11 page score with 1 leaf Passantino Brand 12-line paper.

Box 23

3.1 Lectures, Essays, Technical Writings I
3.1.1.18 Die musikalische Idee und das orchestrale Equilibre. Vortrag gehalten auf dem Kongress von Hermann
Scherchen in Brüssel, 1935. Typescript, 8 p.Analysis of Haydn, Symphony No. 95 in C Minor.
3.1.2.18 Über die ersten acht Takte der Violin-Sonate, Op. 23, a-moll, von Beethoven. Winter, 1935. Vortrg gehalten
vor dem Kreis der Jerusalemer musizierenden Akademiker. Typescript, 11 p.
3.1.3.18 Über gewisse Eigenschaften im Volkslied, ihre Ideologen und die Rolle des Künstlers. "Geschreiben für die
literarischeZeitschrift von Noach Stern in Tel Aviv."June 1938. Typescript, 2 p.
3.1.4.18
Referat Nr. 1, gehalten in der ersten Sitzung des Weltzentrums für jüdische Musik. Jerusalem, August, 1938.
Typescript, 6 p. Translation by Edward Laufer.
3.1.5.18 Referat Nr. 2, gehalten um dem Plenum der Musikkommission des Weltzentrums für jüdische Musik.
Jerusalem, Sept. 1938. Typescript, 5 p. Translation by Edward Laufer.
3.1.6.18 Liebe Kollegen. Open letter to colleagues of the Palestine Conservatory. 12 Sept. 1938. Typescript, 10 p.
Translated by Edward Laufer.
3.1.7.18 Notiz über die musikalische Situation. Jerusalem, 1938. Typescript, 1 p.
3.1.8.2 In Palëstina sammeln sich Juden. New York. February 1939. 8 p. Sent to Josef Marx in Cincinnati to be
translated for publication in Modern Music.
3.1.8.14 Music Old and New In Palestine. Modern music, 1939. Translated by Josef Marx.
[3.1.9.1] Referat Mailam. "Ich bin sehr glücklich die Gelegenheit zu haben." See 3.3.9 pp. 1-11. Notebook 1938/1939.
3.1.10.1 Über Dance in the Form of a Chaconne.Item I: Pencil holograph, inc. p. 3-6. Passantino 24-line. [1939].
Item II: Typescript with musical examples entered by hand. 13 p. [1939]. Item III: Typescript without
musical examples entered by hand. 13 p. [1939].
3.1.11.1 Über die Prelude und Fuge, F moll, WTC II. Pencil holograph, 21 p. 1st version written on 24-line Ted Burke
paper. [1939]. missing.
3.1.11.18 Über die Prelude und Fuge, F moll, WTC II. Typescript with musical examples, 26 p. [1939].
3.1.14.1 Item I: "Zur Kunst der kleinsten 12-Ton Übergänge." Harmonic-Contrapuntal Studies in 12-tone Context.
December, 1940. 18-line paper, no mark, 10 leaves.
Item II: "Schluss Gebilde heissen besonderen Umstände...." 3 leaves, oblong 8-line notebook. 5 p. inscribed.n.d.
3.1.15.18 Lecture No. 2: "So ist der Ton." Typescript 7 p., with 19 p. of musical examples. The Settlement Music School,
Philadelphia. 1940.
3.1.16.1 Das Motiv ist eine kleinste selbständige ... Part 1 of "Der musikalische Vorgang."Vorlesungen, Sommer
1941, Maine. 1941. 2 gatherings of 6 double leaves, Passantino, 24-line. Section I pages 1-11. Section 2:
Sonate Op. 10, no. 3, erster Satz, Beethoven, pages 12-48.
3.1.16.18 Das Motiv ist eine kleinste selbständige ...Typescript without examples, 11 pages. p. 1-11. Typescript for
Section I.
3.1.17.18 Einiges grundsätzliches zum Wesen der Form der Sonate. Part 3 of "Der musikalische Vorgang". [1941]. 4 p.
3.1.20.1 Zur Passacaglia in C moll von Bach. 1941. Lecture Notebook for Micky's Group, 36 p. Holograph text and
musical examples.
3.1.21.1 Eigenschaften der Strukturen. Discussion of symmetrical hexachord structures. 2 leaves, 12-line, spiral bound
notebook. [late 40s]
3.1.22.1 Studien über die Accumulation Complementärer Teilelemente im Komplex des Klanges (New York). [1948 to
16 April 16, 1949]. 33 leaves. "At the time of the Violin sonata and the work for two pianos and three
players."
3.1.30.1 [Complex studies]minor 9; 2: 5/9 6-9b7; 3: 3.5b;3.5b; 5/9.6 leaves,11 pages inscribed. K-lith visionease 12-
line paper. n.d.
3.1.31.1 Lecture Examples: "Case Situations" and "David and Arti". 18 p., examples for 2 pianos on Passantino 12-line
paper. Yale. [1951].
3.1.32.1 This meeting is important.Pencil holograph, 42 p., lined notebook. Two examples cited on p. 22 are missing.
n.d. [1952?] Typescript by AC.
3.1.34.1 Thoughts on pitch and some considerations connected with it. Pencil holograph, 37 p. (numbered 1-34 and
several additional pages). Second talk given at Black Mountain, summer session, August, 1952.
3.1.34.18 Thoughts on pitch... Typescript, 19 p., numbered 1-17, 20, 19 p.
3.1.35.1 Canons auf dem Kopf gestellt. 9 leaves. King-brand 12-line loose leaf. 12 Jan 1953.
3.1.36.1 A Lesson in Composition. Pencil holograph, Passantino 12-line, 15 p. Musical examples for a lecture with at
least 31 pages. Black Mountain College, Summer, 1953.
3.1.37.1,18 Lecture on rhythm. (Fragment). 3 p. (2 pencil pages 1 numbered 25 and 1 typescript page numbered 16). All
pertain to the conclusion of the lecture. [1953]..
3.1.38.1 To understand Music. Pencil holograph, 22 p., yellow foolscap pad. [Black Mountain College]. [1952].
3.1.40.1 Any bunch of Notes. [1953]. Pencil holograph, 7 p., musical examples 1-16, ex. 17 missing.

Box 24

3.1 Lectures, Essays, Technical Writings II
3.1.42.1 At this moment of congratulating you. [Black Mountain College]. Pencil holograph, 7 p., 6 p. inscribed.
[1953-4?].
3.1.43.1 Lecture notes on Proportions. Black Mountain College. 3 pages. [1954?].
3.1.44.2 Rhythm Graphs. With Joe Livingston's "metrical sliderule." 6 leaves plus cover. [ca. 1955?].
3.1.45.1 Book of Multiple Divisions. 14 pages inscribed. [1955]. Remainder used as a catalogue of scores after the
fire.
3.1.46.1 Material ____ 1956 Notebook. "Über die nicht Einheit des 'Raumes'". 13 leaves, 9 pages inscribed. Royal
Composition notebook. On cover: 1956.
3.1.47.13 Über neue (und nicht so neue) Musik in America. Typescript, 21 p., Darmstadtarchive. 37 musical
examples. Plus manila folder listing examples. July, 1956.
3.1.48.1 All solche hier in compacten Klangen... 20 p. Radio talk on the Passacaglia. Torn. Musical examples missing.
RIAS broadcast of Music of Stefan Wolpe. Approx. 15 minutes. Berlin, 1957.
3.1.49.1 Die Phantasie lässt sich kritisch beobachten. Pencil holograph, 2 notebooks, musical examples 8-20 missing.
Staatliche Musikakademie, Kassel. 8 March 1957.
3.1.51.1 Ich habe bereits. Lecture on proportions. Pencil holograph, 11 p., 1 p. of examples, G, H, I. Examples A-F
missing. [1957?].
3.1.52.1,10 Thinking twice.Item I: A. Pencil holograph. 79 p. 1959. Item II: 5 copies of blackline print (14 pages of
examples).
3.1.52.18 Thinking twice. B. Typescript I. 16 p. numbered 2-17. On p. 11: "the open spot from the lecture delivered at
Sarah Lawrence College." 1959.
3.1.52.18 Thinking twice. C. Typescript II. 16 p. numbered 2-17. 1959.
3.1.52.18 Thinking twice. D. Typescript III. 35 p. Onionskin. Edited by AC under SW's supervision.
3.1.52.3 Thinking twice. 15 p. of musical examples. Copied by BBC.
3.1.53.1 Notes on proportions. "Independent upon the electronic reservoir of sounds." Dartington Hall, 1959. Pencil holograph, three notebooks. Notebook 4, sketche
3.1.54.2 Auflösen heisst in Bewegung umsetzen... [1957?] Lecture Notes. 4 leaves from notebook.

Box 25

3.1 Lectures, Essays, Technical Writings III
3.1.55.1 Über Proportionen."Jeder Ton ist eine tonräumliche Stufe...63 pages.
3.1.55.3 Über Proportionen. Darmstadt Vortrag. (Musical Examples) 1960.
3.1.55.9 Über Proportionen. Darmstadt Vortrag. (Musical Examples) 1960.
3.1.55.18 Über Proportionen. "Jeder Ton ist eine tonräumliche Stufe..."Darmstadt Vortrag. 1960. Typescript, 19 p.
with many marginalia by SW. 3 copies.
3.1.57.1 Raum (Regionen). Lecture no. 1. Pencil holograph, 2 notebooks, With musical examples). Darmstadt. 1961.
3.1.59.1 Symmetrische Proportionen. Lecture no. 2. Pencil holograph, 2 notebooks, 77 p.; musical examples:5 leaves
Schirmer 12-stave loose leaf with 8 pages inscribed, 1 leaf from the lecture notebook, plus 7 leaves
Passantino 18-line paper, 1 leaf from wire bound notebook on 12-line paper. 13 pages inscribed.
Darmstadt, 1961.
3.1.60.1 Asymmetrische Proportionen. Lecture no. 3. "Die Verfremdung der symmetrie." 1 notebook, 22 leaves plus
15 p. musical examples. Darmstadt 1961.
3.1.61.1 Asymmetrische Proportionen. "Es gibt eine reihe grundsätlziche Proportionsreihen."
Pencil holograph, 36 p. from ring bound notebook plus 7 p. of musical examples numbered 1-33, missing nos. 12-23.
Darmstadt. 1962.
3.1.62.1 Über Simultaneität. Darmstadt, 1962. Pencil holograph, 2 notebooks. No musical examples.
3.1.63.13 Lecture on Dada (1962). (Xerox of typescript from tape recording of lecture). 1962.
3.1.64.1 Miscellaneous lecture notes. n.d.
3.1.65.1 Examples for lecture on proportion. 1 double leaf, 1 single leaf, Passantino 20-line.

Box 26

3.3Programme Notes, Notebooks (no music), Memobooks and other brief writings
3.4 Work Lists and Resumes
3.3.1.1 Notes taken from lectures by H. Scherchen. 81 p. Brussels. 1936.
3.3.2.1 Lachmann Musik in den tunesischen staedten. 14 leaves, 25 p. inscribed with notes on readings primarily on
Arabic music, esp. theory on Maqam. [1937-38?].
3.3.3.18 Lecture on Marsch und Variationen (C80)."Ihr müsst einsehen."3 pages. Jerusalem. [Feb. 12, 1938.]
3.3.4.18 Note on Mahler. 1 p. typescript. [1938?].
3.3.8.18 Program of Tributes and Analyses for Concert of Students of Stefan and Irma Wolpe. "Bei Gelegenheit dieses
Konzertes." 21 p. mimeographed typescript, with musical examples. Jerusalem. Oct., 1938.
Wolpe, "Die Arbeiten, die wir hier zur öffentlichen Aufführungbringen" 1 p.
Dank an Irma Schönberg. SW., Über Chemda Davis. 1 p. Ernst Hirsch, Saly Levy, Werner Suessmann,
Peter Jona Korn, Herbert Kaplan, Wolf Rosenberg. Wolf Rosenberg, "Kompositionunterricht bei SW."
Werner J. Fries, "SWs Harmonielehrekurs 1936-38. Page of quotations from Leonardo da Vinci,
Lichtenberg, Picasso, Friedrich Theodor Vischer, Aus den 'Nachtwachen des Bonaventura', Adalbert
Stifter, Briefe, Marx (Feuerbach). 4 p. Hebrew.
3.3.9.1 Notebook 1938-39. Referat "Mailam" on Jewish Music, New York, March, 1939. "Ich bin sehr glücklich." 21 p.
inscribed.(= 3.1.9) Also "Notizen während meiner Kompositorischen Arbeit": notes on
Dynamisierung of C93.1 Study on tritones, 93.3, Presto furioso fromFour Pieces on Basic Rows, 17
Jan. 1938 and Suite im Hexachord, Pastorale. Notes to Sarah Gorby, 1939. =
3.3.7.1,18 Bei Gelegenheit eines Vorspeils vor Schulern von 5 neuen Liedern von mir im Hause Dr. Hirsch. Jerusalem,
[Oct.?] 1938. 6 p. pencil, 2 p. typescript of the first part of the pencil text. Epitaph;If it be
my fate; Lines from the Prophet Micah; Zor hamor dodili (Song of Songs); Lamenatzeach al
Hamecholot (Bialik).
3.3.10.1 New York ende Juli on his current work "Das Land Israels." "So lebe ich eine hinreisende Zeit..." 3 leaves, 6
pages inscribed. [1940?]. =3.1.12
3.3.11.18 Introductory notes for League of Composers Concert for US premiere of March and Variations. "In these
variations". 2 p. English. 11 Feb. 1940.
3.3.12.1 Notes before the concert for the Jewish Music Forum. "I was asked to speak about the Palestinian Songs."
pencil. 3 leaves, 6 pages inscribed. Feb. 18 1946.
3.3.13.1 Program notes for the Six Songs from the Hebrew. 1 leaf. [1949?].
3.3.14.1 Quotations from Breton, Delacroix and Blake. 2 leaves, 3 pages inscribed. [1949].
3.3.15.2 I had meant to deliver... Concert introduction. Pencil and ink holograph and pencil. 2 pages, n.d. [late 1949?].
3.3.16.1 Notes before a concert of student compositions. "This is only a modest beginning." 8 leaves paginated p. 1-8.
and manila folder: "Address given at the first concert of my composition class at the Philadelphia
Musical Academy." [17 June 1950].
3.3.19.2 Introductory remarks to the concerts of works of my students. "If a composition teacher of an institution
happens to be a modern composer." Philadelphia Musical Academy Philadelphia. June 4 1952.
3.3.20.1 Notebook "To speak about space." 54 p., 27 pages inscribed. [after 1952].
3.3.21.2 Analysis of the Sonata for Violin and Piano. 22 p. 14 July 1954.
3.3.22.2 Liner Notes for Esoteric Record. 1954.
3.3.25.1 Notebook. "Es ist die Absteckung." 15 leaves, 26 pages inscribed. 1957.
3.3.27.1,2 Lecture Notebook Post College. "Jazz is folklore."44 leaves, 23 pages inscribed. Wire-bound Post-college
notebook. [1957-60?].
3.3.28.4 Student Notebook on Wolpe's lectures. Spring 1960.
3.3.29.1 Obituary for Franz Kline. 1960.
3.3.30.1,2 Notes on Dada and on Proportions 1960. 27 leaves, 32 pages inscribed.
3.3.31.4 Program notes forIn Two Parts for Six Players. 8 and 2 half-leaves. 24 Apr. 1964.
3.3.32.1 Notebook. "Number Are...". 23 pages inscribed. [1963?].
3.3.33.1 Reihentechnik...Notebook. 33 pages inscribed. n.d. [1963].
3.3.34.4,18 Pieces based upon an intervallic set. 12 pages from the wire-bound notebook which Cheryl Seltzer had kept
until July 1981 plus 1 page transcription. Transcript 7 pages. Transcribed Chicago, 26 April 1964.
3.3.35.18 Critical Notes on an Orchestral Work by S.W. or another. 1 leaf numbered "2". [1933?].
3.3.36.1 Miscellaneous writings. Item I: 8 leaves from a loose leaf notebook. Inscribed with Spanish works.
3.4.2.2 Work list. 3 pages. [1940].
3.4.9.18 Curriculum Vitae from around 1950.
3.4.10.18 Curriculum Vitae from around 1956.

Box 27

3.5 Diaries I
3.5.1.2 Diary 1924-1926. "Ih__ den Anfang des Jahres 1924 Stefan Wolpe geboren 1902." Diary with many inserted
letters. 137 p.
3.5.3.1 Diary 1928-1930. p. 1: "Das Leben will gelebt sein." Letter attached to p. 53 to Anna; separate music glued to p.
103, 103a; inserted entries dated New York 1952. 389 p.
3.5.4.1,2 Diary 1937-1940. p. 1: "Juli 1937." black, heavy paper covers, glued binding. 258 pages,204 inscribed.

Box 28

3.5 Diaries II
3.5.5. Diary "Tagebuch Bluehill Falls." ink. 2 p. inscribed. [August] 1945. Stored by J. Marx.
3.5.6.missing Diary 1946. p. 1: "Wenn es Realitaten gibt." dark brown flexible paper cover, black cloth strip sewn binding. 34 p.
3.5.7. Diary 1947. p. 1: "Januar 1947/Ich muss Ordnung halten in meinem Leben." dark brown paper cover, sewn
binding, black cloth spine. 48 p.
3.5.8. Diary Nummer 4. Inside front cover "Sommer 1947 Adirondack" (black ink) und winter 1948/ester Teil." (red
ink). 139 p., 40 p. inscribed. 1947. Stored by J. Marx.
3.5.9. Diary 1951. "August dritte Woche." 39 p.
3.5.10. Diary Oct. 1951-1952. "Ruckkehr zur vollste Entfaltung." 101 p.
3.5.11. Diary 1953. "Days in which I'm busy." pp. 1-9. 19.
3.5.12. Diary 1954-55. Front cover: "Diary starting with the death of Schlo/February 1955/intensely sensed,
evolving/twists(?) of myself/unshelved(?)" spiral bound, flexible dark brown heavy paper covers. 78 p.
3.5.13. Diary Summer 1958. Madrid, Ibiza, London, Altamira, Segovia, Barcelona. 170 p.
3.5.14. Diary 1960. Cover "Poems, Diary 1960 and..." p. 1-13, 19-33.
3.5.15. Diary 1962. Ibiza-Mallorca. p. 1: "Am ende geschehen die Wunder." spiral bound, blue paper covers. 21x14
cm.
3.5.16. Diary 1960-1963. p. 3: "To celebrate intense days of/joyous living..." red cover, Lyceum/Bella copia. 68 p.
3.5.17. Diary 1963. "The concrete conditions of materials..." 21 p.
3.5.18. Diary 1964(?) "Die Sonne brennt..." 160 pages, 2 pages inscribed.

Box 29

3.5, Diaries III
3.5.19.1,2 Spätere Interpretationen.... Diary. "Schwere wärme..." 16 pages inscribed. 1950.
3.5.20.1,2 Ich bin in einem grendzenlosen Sinn. Universal Compositions Notebook. 30 inscribed pages. Includes 1 leaf
loose leaf. 1946-1950.
3.5.21.2 Notebook "Thesen Sommer 1946." 9 leaves, 2 pages inscribed. Gyral Notebook.
3.5.22.1,2 Diary, Business Yearbook. Dedication: Christmas 1947.
3.5.23.1 Diary, "Notizen in diesen Tagen." 13 pages inscribed. Re.: Violin Sonata. Sept. 1948-Aug. 1949.
3.5.24.1 Diary,April-June 1950. "Ich bin am Ende angelangt." 19 pages inscribed.
3.5.25.1 Memobooks.
Item I: Memobook, "Dictionary English." [1947].
Item II: Memobook, "Ray Sachs." [1950?]
Item III: Memobook, "One does not start with laws."Tempi for[Violin Sonata]. [1951?]
Item IV: Memobook, "Kenneth Koch." [1954?].
Item V: Memobook, "Oxford University Press." Poem "Of full steps of life." [1956?].
3.5.26.1,2 Miscellaneous sheets.

Box 30

4.1 Concert Programs, 1925-1959

Box 31

4.1 Concert Programs, 1960-1972

Box 32

4.1 Concert Programs, 1970-1979

Box 33

4.1 Concert Programs, 1980-1990 and Undated Programs

Box 34

4.2 Institution Calendars, Bulletins, Newsletters and Citations
4.2.1.14 Newsletter of the Settlement Music School, Philadelphia. Volume 10, no. 1. Report on recital by Irma Wolpe
and Lecture by Stefan Wolpe on modern music. Second lecture [Lecture no. 2] on Tuesday, May 9 on
modulation, chromatic harmony and the dissolution of tonality. March, 1940.
4.2.2.14 Contemporary Music School Calendars.
Item I: Calendar. 6 leaves. 1949-1950.
Item II: Calendar, 1950-51.
4.2.3.14 Ceremonial Programs, American Academy of Arts and Letters.
Item I: 27 May 1949. SW awarded grant in music.
Item II: 25 May, 1966. Wolpe inducted as member of national institute.
Item III: 25 May, 1966 diploma.
Item IV: Book. 1970.
4.2.4.14 Philadelphia Music Academy Calendar, 1949-50. Wolpe not listed.
4.2.5.14 Citations.
Item I: C.W. Post College. 16 May 1968.
Item II: Brandeis University [1968?].
Item III: New England Conservatory of Music. Doctor of Music Honoris Causa. 8 June 1969.
Item IV: New England Conservatory of Music Program, 1969.
4.2.6.14 Black Mountain College Bulletin.
Item I: 1952-53.
Item II: Summer Institute 1943.
Item III: A Prelimary Statement of the Program. 1953-54.
4.2.6.14 The Palestine Conservatoire of Music and Dramatic Art in Jerusalem. Prospectus, 1935-36.
4.2.7.18 McGinnis and Marx Publication Fund Announcement. 1953?

Box 35-36

4.3
4.3Periodical reviews and articles, press clippings
A. Clarkson. Brief Catalogue of Published Works. Sound Way Press.
Jonathan Cott, "Stefan Wolpe's Enactments for Three Pianos" n.d.
Morton Feldman, "To have known Stefan Wolpe." 1982? 2 pages.
Ed Levy, SW
4.1. .8 Examples for Analytical study of Trio. 2 leaves, 12-line paper. By Ed Levy. [1964]

Box 37

4.4 - 4.5
4.4Books and Catalogues
4.5Books and Articles by Other Authors with Notations by Wolpe

SUPPLEMENT A

1. Symphony, 1956. Pencil particell.
2. Symphony for 24 Instruments, 1954-55. Pencil particell.
3. Battle Piece. Source C. Ink on paper holograph.
4. Battle Piece. Source D. First draft, ink and pencil on paper holograph.
5. Battle Piece. Source E. Sketches and thematic extracts.
6. Exercises...Probings.... Ibiza, 1958. Compositional study.
7. Revolutionary Songs. Broadsides.

SUPPLEMENT B
IRMA WOLPE RADEMACHER PAPERS

The collection was left to the Stefan Wolpe Society by Irma Wolpe Rademacher and acquired by the Paul Sacher Stiftung in 2000.
1. Marsch und Variationen. Ink on paper autograph. Bound in blue cardboard covers. 84 p. Variations 1-6 copied by Else Schlomann.
Variations 7-9 copied by Irma Wolpe. Stefan Wolpe wrote under the heading (p. 1), "Geschrieben für Irma Schönberg." Pencil
revisions by the composer.
2. Four Studies on Basic Rows, Study on Tritones, 1936. Ink on paper autograph, with annotation by the composer. Probably copied
by "Frau Steiner", student. 6 leaves. Title page: "Studie No. 2 über die Grundreihe des Tritonus/aus den 4 Studien über
Grundreihen/für Klavier 2 händig/op 23 1935-1936/exemplar der Frau Steiner (gute Arbeit wünsche ich Ihnen)/Stefan Wolpe
1937."
3. Four Studies on Basic Rows, Study on Tritones. Blackline print. 12 p. Ringbound in black covers. Early stage with ink additions by
the composer.
4. Four Studies on Basic Rows, Study on Thirds. Two blackline prints with markings by Stefan Wolpe and Irma Wolpe. Copy 2, p. 4,
Wolpe wrote: "verwirt, absichtlich zerissen verspalten", p. 5, "Muss weg (wech as the Berliner say)."
5. Four Studies on Basic Rows. Blackline print of Passacaglia, op. 23 no. 3. 25 p. Dedication: To Edward Steuermann. Bound in paper
covers. Cover: "Passacaglia for Piano/Stefan Wolpe 1936." With emendations in ink by Stefan Wolpe.
6. Four Studies on Basic Rows. Carboard cover written in Wolpe's hand: "Cycle of Four Pieces for Piano/Stefan Wolpe 1935/1936/1.
Allegretto con grazia/ 2. Moderato/3. Passacaglia/4. Presto furioso/Stefan Wolpe/412 W 110 Street/New York NY"
7. Four Studies on Basic Rows, Passacaglia and Presto furioso. Ink on paper holograph. 46 leaves. Bound in blue cardboard covers.
Title page: "Passacaglia/aus den 5 [sic] Studien über Grundreihen/für Klavier 2 hdg/op 23/in einfacher Übertragung auf 2
Klaviere/Stefan Wolpe/1936 Jerusalem/das exemplar gehört Irma Schönberg/und das schenke ich ihr, dieser lieben Frau, zum
Geburtstag/14.III.1936 Jerusalem/Stefan." Dates: Passacaglia Febr.-Mar, 1936. Presto furioso, Oct.-Nov. 1935. Pencil
annotations by Stefan Wolpe of instrumentation, in preparation for orchestral version. Pencil annotations by Irma Wolpe,
fingerings and analytical remarks.
8. Four Studies on Basic Rows, Passacaglia. Sketches. 6 single leaves, 2 double leaves.
9. Four Studies on Basic Rows, Passacaglia, 1936. New Music Edition, October, 1946. With dedication from Stefan Wolpe to Irma
Wolpe: ". . . . after many years have passed: no one else but you came so close to the fierce grandeur in playing this piece and
only you gave to the song(ness) in the piece the grave air of which it is full. St." Enclosed in red envelope with Irma Wolpe's
inscription: "Precious! Passacaglia with dedication! Precious."
10. The Man From Midian, 1942. Pencil holograph. 107 pages. Title page: "The Man From Midian/Music Stefan Wolpe/1942."On
Carl Fischer paper cover: "Original Man from Midian für 2 Klaviere/Wolpe/1942."
11. Battle Piece, 1943-47. Blackline print from vellum master, wire-bound in blue card covers. Missing three leaves: pages 11-12, 19-
20 (replaced by a photocopy), 47-48. On the front cover a piece of card is taped with an ink inscription in Wolpe's hand:
Battlepiece/for Piano 1943-44/Stefan Wolpe. The dates on this inscription indicate that Irma Wolpe transferred it from the
cover in which she had kept source Cwhen it contained only Parts 1-4. On the inside front cover is pasted the program
performed by Tudor on 10 February 1952. The order of the parts in the program is the revised order given on the title page.
Beside the movement headings on the title page Irma Wolpe wrote the numbers of the movements and the corresponding page
numbers.
12. Sonata for Violin and Piano, 1949. Pencil holograph. 97 p. Movements 1, 2, 4. Third movement missing.
13. Sketch for a sonata for violin and piano. Pencil holograph. 2 p. n.d. [mid-late 1950s].
14. Volume of Early Piano Music. Photocopy. The original manuscript is missing. Reproduced from microfilm made by Josef Marx.

STEFAN WOLPE CONDUCTING SCORES

15. J. S. Bach. Acht Kanons aus dem Musikalischen Opfer. Berlin, Vieweg. With Wolpe's copious conducting markings in pencil.
Used for performance in Palestine Conservatoire.
16. J. S. Bach. Ricercare aus dem Musikalischen Opfer. Berlin, Vieweg. Full score with Wolpe's detailed performance markings.
Second violin part with Wolpe's markings.
17. J. S. Bach, Klavier Konzert in D Moll. Breitkopf & Härtel. String parts with performance markings by Stefan Wolpe. Bowing,
tempi, phrasing. 2 first violin, 1 second violin, 2 cello parts.
18. G. F. Händel. Concerti grosso, Nr. 23, op. 6, no. 12. B&H. Conducting score with markings in red pencil (not Wolpe's hand), and a
few pencil markings in Wolpe's hand. Used for the Scherchen conducting course, Brussels, 1935.

IRMA WOLPE PERFORMING SCORES, ABSENT MARKINGS BY STEFAN WOLPE

19. Battle Piece. Photocopy of vellum master , 28x36 cm. Pages 1-25, 39-60 taped together in pairs; pages 27-38 in single leaves. Page
26 missing. Copious performance markings by Irma Wolpe on pages 1-25, 39-60. Some of the markings in red pencil are
probably by Stefan Wolpe. No performance markings on pages 27-38.
20. Battle Piece. Photocopy of pages 48-60 (Part 7) of no. 14, 21.5x28 cm. Some additional performance markings by Irma Wolpe.
21. Form IV: Broken Sequences, 1969. C. F. Peters, 1970. Photocopy of the score. Performance markings by Irma Wolpe. On title
page under the title, "Traps, blocked doors in the maze, no EXIT!" "When one plays these pieces one realizes how inaccurately
one plays classical meters. a sixteenth more or less happens all the time." Page 1. Below title: "Inescable situations umstellt
wie eine Stach...bottom of page below b. 7, "wider grüne Musik!"
22. Early Piece for Piano. Josef Marx, 1955. Performance markings by Irma Wolpe.
23. Four Studies on Basic Rows. Blackline print of nos. 1-3 from vellum masters copied by the composer in New York [early 1940s].
Performance markings by Irma Wolpe.
24. Four Studies on Basic Rows, Presto furioso, 1935. Blackline print. 3 leaves, incomplete. Performance markings by Irma Wolpe.
25. Four Studies on Basic Rows, Study on Tritones. Ink on paper autograph by Irma Wolpe.
26. Four Studies on Basic Rows. Presser edition, 1974. Performance markings in nos. 1, 2, and 4 by Irma Wolpe.
27. Sonata for Oboe and Piano, 1941. Photocopies of the Josef Marx score. Two copies of movements 2, 3, 4. With Irma Wolpe's
performance markings.
28. Toccata in Three Parts. Ink on paper autograph by Irma Wolpe of the first two pages of Part 3.
29. Two Studies for Piano, Part 2. McGinnis & Marx, 1955. Pages 2 and 7 with performance markings by Irma Wolpe.