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The Carlton Lake Collection of
Manuscripts encompasses a large number of mostly French manuscript and printed
musical works from the nineteenth and twentieth centuries. This guide to the
music holdings is arranged in two series: I. Manuscript Music, 1817-1947, and
II. Printed Music, 1920-1987. |
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Approximately one hundred composers are represented by works in the
collection. The earliest manuscripts are sketches for lieder by Carl Maria von
Weber dating from about 1817, and the most recent manuscript is Henri Sauguet's
1961 song,
"Au pays." Printed items range from a
1920 edition of a portion of Florent Schmitt's incidental music for
Antony and Cleopatra to Gavin Bryars's
1987 tribute to Marcel Duchamp,
"Prélude à la Rrose
(quoi?): 'Sot ne rit de la Rrose,
croit'." Printed works are usually present in the collection
because they were inscribed by the composer or they were kept among the papers
of the composer or lyricist. |
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The collection is strongest in early
twentieth-century French classical music manuscripts. Composers represented by
significant holdings include Georges Auric, Ernest Chausson, Henri
Cliquet-Pleyel, Claude Debussy, Paul Dukas, Gabriel Fauré, Hector
Fraggi, Charles Gounod, Reynaldo Hahn, Paul Ladmirault, Raoul Laparra, Franz
Liszt, Jules Massenet, Federico Mompou, Jacques Offenbach, Maurice Ravel,
Albert Roussel, Camille Saint-Saëns, Erik Satie, Charles
Seringès, Igor Stravinsky, and Frank Turner. Especially important are
the rich collections of works by Debussy, Dukas, Fauré, Ravel, and
Roussel. |
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Items of particular interest include the manuscript score from
which Liszt conducted the premiere of his
Gaudeamus Igitur; Stravinsky's
orchestration of Chopin's
Grand valse brilliante in Eb for the ballet
Les sylphides; two songs by Franz
Schubert; a copy by Clara Schumann of Johannes Brahms's
Twelve Songs and Romances for Female
Voices; Debussy's score for the ballet
Khamma; Dukas's scores for
L'apprenti sorcier and
La peri; Fauré's orchestral score
for
Masques et bergamasques; Ravel's
manuscripts for
Daphnis et Chloë,
Gaspard de la nuit,
L'heure espagnol,
Introduction et allegro,
Ma mère l'oye,
Rapsodie espagnol,
Shéhérazade, the piano trio,
and
Valses nobles et sentimentales, in
addition to numerous songs; Roussel's opera
Aeneas, the ballet
Bacchus et Ariadne, the piano concerto,
Evocations,
Le festin de l'araignèe,
La naissance de la lyre, the opera-ballet
Padmâvâti,
Rapsodie flamande, and
Symphony no. 2, as well as many songs; and Satie's
Relâche. |
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The Lake Collection
as a whole offers myriad possibilities for enhancing the study of the scores by
consulting other primary source materials within the collection. For example,
a
fascinating exchange of letters between Chausson and Debussy in 1893-1894
discussing their creative struggles on
Le Roi Arthus and
Pelléas et Mélisande
complement the scores and sketches for these works. |
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A
note on terminology
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This guide adopts the standard terminology for
description of music as set out in
Anglo-American Cataloguing Rules, 2d ed.
as follows: |
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Close Score: A musical score giving all the parts on a
minimum number of staves, normally two, as with hymns. |
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Condensed Score: A
musical score giving only the principal musical parts on a minimum number of
staves generally organised by instrumental sections. |
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Piano Score: A
reduction of an orchestral score to a version for piano on two
staves. |
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Score: A series of staves on which all the different instrumental
and/or vocal parts of a musical work are written, one under the other in
vertical alignment, so that the parts may be read simultaneously. |
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Short
Score: A sketch made by a composer for an ensemble work, with the main features
of the composition set out on a few staves. |
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Vocal Score: A score showing
all vocal parts, with accompaniment, if any, arranged for keyboard
instrument. |
