University of Texas at Austin

Carlton Lake:

An Inventory of French Music Manuscripts in His Collection at the Harry Ransom Center

Creator: Lake, Carlton, 1915-2006
Title: Carlton Lake Collection of French Music Manuscripts
Dates: 1817-1987 (bulk 1870-1963)
Extent: 264 items, interfiled with the Lake literary manuscripts
Abstract: The Carlton Lake Collection of Manuscripts encompasses a large number of mostly French manuscript and printed musical works from the nineteenth and twentieth centuries with particular emphasis on such early twentieth-century classical composers as Debussy, Dukas, Fauré, Ravel, and Roussel.
Call Number: Manuscript Collection MS-04960
Language: French
Note: We gratefully acknowledge the assistance of the Andrew W. Mellon Foundation, which provided funds for the processing and cataloging of this collection.
Access: Open for research.

Administrative Information

Acquisition: Purchase and gift, 1965-1998
Processed by: Dell Hollingsworth and Lisa Jones, 1989; Monique Daviau, Richard Workman, and Catherine Stollar, 2004

Harry Ransom Center, The University of Texas at Austin

Scope and Contents

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.
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.
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.
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.
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.
A note on terminology
This guide adopts the standard terminology for description of music as set out in Anglo-American Cataloguing Rules, 2d ed. as follows:
Close Score: A musical score giving all the parts on a minimum number of staves, normally two, as with hymns.
Condensed Score: A musical score giving only the principal musical parts on a minimum number of staves generally organised by instrumental sections.
Piano Score: A reduction of an orchestral score to a version for piano on two staves.
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.
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.
Vocal Score: A score showing all vocal parts, with accompaniment, if any, arranged for keyboard instrument.

Related Material

The study of music in the Lake Manuscripts Collection is also supported by published scores included in the Lake Collection of books housed in the Ransom Center Library and by materials in the Lake Collection within the Photography Collection and the Art Collection at the Center.

Index Terms


Auric, Georges, 1899- .
Chausson, Ernest, 1855-1899.
Cliquet-Pleyel, Henri, 1894-1963.
Debussy, Claude, 1862-1918.
Dukas, Paul, 1865-1935.
Fauré, Gabriel, 1845-1924.
Fraggi, Hector.
Gounod, Charles, 1818-1893.
Hahn, Reynaldo, 1875-1947.
Ladmirault, Paul, 1877-1944.
Laparra, Raoul, 1876-1943.
Liszt, Franz, 1811-1886.
Massenet, Jules, 1842-1912.
Mompou, Federico, 1893-1987.
Offenbach, Jacques, 1819-1880.
Ravel, Maurice, 1875-1937.
Roussel, Albert, 1869-1937.
Saint-Saëns, Camille, 1835-1921.
Satie, Erik, 1866-1925.
Seringès, Charles.
Stravinsky, Igor, 1882-1971.
Turner, Frank, 1896- .


Music, French.

Document Types

Sheet music.

Music in the Carlton Lake Collection--Folder List