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                    <text>Spread of Thayer's book with printed melodies from Beethoven's 23 Songs of Various Nationalities (right) and Adler's annotations (left) </text>
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                    <text>Lists tunes as "Schottisch," "Dänisch," "Spanisch," "Portugiesisch," and "Russisch"; annotations include repeated phrase "Auf in Berlin" and a re-transcription of the three Russian melodies</text>
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                <text>Guido Adler, annotated copy of Alexander Wheelock Thayer's &lt;em&gt;Chronological Catalog of the Works of Ludwig von Beethoven&lt;/em&gt;</text>
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                <text>&lt;p&gt;Jewish scholar, writer, critic, pedagogue, and editor Guido Adler’s library was a working collection: like this interleaved copy of Thayer’s Beethoven thematic catalog, many of the books and offprints are heavily annotated and corrected, and illustrate Adler’s place at the heart of the new discipline of historical musicology. This particular image shows Adler's annotation of themes from Beethoven's 23 Songs of Various Nationalities, including his re-transcription of the three Russian tunes.&lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Geolocation:&lt;/strong&gt;&lt;/em&gt;&amp;nbsp;&lt;em&gt;Adler's residence in Vienna.&lt;/em&gt;&lt;/p&gt;</text>
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                <text>Alexander Wheelock Thayer. &lt;em&gt;Chronologisches Verzeichniss der Werke Ludwig van Beethoven’s&lt;/em&gt; (Berlin: Ferdinand Schneider, Matthäi Kirchstrasse 24, 1865).&lt;br /&gt;&lt;span style="text-decoration: underline;"&gt;&lt;a href="http://id.lib.harvard.edu/alma/990142711940203941/catalog" rel="noreferrer"&gt;Guido Adler Collection&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;Merritt Room ML134.B4 T4 1865</text>
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                <text>Thayer's book published in 1865; Adler's death in 1941; acquired in 2015</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://www.thecrimson.com/article/2017/9/25/music-department-celebration/"&gt;Guido Adler's Library (2017 Music Library Exhibition)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://www.youtube.com/watch?v=1E_artcc_x0"&gt;"Beethoven: 23 Songs of Various Nationalities, WoO 158a - 13. Vo lesocke komarockov mnogo urodilos',"performed by soprano Janice Watson (YouTube)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Musicology&#13;
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Music libraries</text>
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                <text>Ferdinand Schneider (Berlin)</text>
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        <name>19th century</name>
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                    <text>Index cards with Russian script cataloging the recording</text>
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                <text>"Niurba ohuokaia," recorded by Eduard Alekseyev</text>
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                <text>This recording of songs from the Yakut round dance was made by ethnomusicologist Eduard Alekseyev in the village of Maar in the Niurba district on June 23, 1977, during a celebration commemorating the 10th anniversary of Markhinskiy sovkhoz (collective).&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Geolocation:&amp;nbsp;&lt;/strong&gt;&lt;em&gt;The Niurba district of Yakutia&lt;/em&gt;.&lt;br /&gt;&lt;br /&gt;&lt;iframe src="https://harvardmusiclib.aviaryplatform.com/embed/media/159709 " allow="fullscreen" frameborder="0"&gt;&lt;/iframe&gt;</text>
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                <text>&lt;p&gt;“Niurba ohuokhaia” &lt;br /&gt;The Eduard Alekseyev Fieldwork Collection of the Musical Culture of Yakutia,​ 1969-2009. &lt;br /&gt;AWM RL 16267&lt;/p&gt;</text>
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                <text>Recorded in 1977; acquired in 2008</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://library.harvard.edu/exhibits/tree-life"&gt;"Tree of Life: Cosmography and Environment in Yakutian Epic" (2019 Music Library Exhibition)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://web.archive.org/web/20240706015815/https://www.eduard.alekseyev.org/"&gt;Alekseyev's Website&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Dance music&#13;
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Sakha/Yakutia&#13;
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                <text>Cassette labels and digitized recording</text>
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                    <text>Page of piano score for last movement, Presto (1 of 3)</text>
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                <text>Carl Philipp Emanuel Bach, &lt;em&gt;Six Easy Keyboard Sonatas &lt;/em&gt;(Wq. 53)</text>
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                <text>&lt;p&gt;This collection of six “easy” pieces, composed between 1762 and 1766, was the last of C.P.E. Bach’s seven Berlin sonata collections, and one of several he assembled to appeal to the amateur musical market. The first Breitkopf publication dedicated solely to Bach’s work, the set was published simultaneously in treble- and soprano-clef editions. Pictured here, from the latter edition, is the third movement (Presto)&lt;em&gt;&amp;nbsp;&lt;/em&gt;of the sixth and final sonata, in F major. &lt;span style="text-decoration: underline;"&gt;&lt;a href="https://curiosity.lib.harvard.edu/digital-scores-and-libretti/catalog/37-990128249150203941"&gt;Peruse the full set of the six sonatas here.&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Geolocation:&amp;nbsp;&lt;/strong&gt;&lt;/em&gt;&lt;em&gt;The Berliner Schloss in Berlin, where Bach worked at the court of Frederick of Great as member of the royal orchestra.&lt;/em&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;&lt;span style="text-decoration: underline;"&gt;&lt;a href="http://id.lib.harvard.edu/alma/990128249150203941/catalog"&gt;Carl Philipp Emanuel Bach. &lt;em&gt;Sechs leichte Clavier Sonaten von Carl Philipp Emanuel Bach&lt;/em&gt;, 1st ed. (Leipzig: Bey Bernhard Christoph Breitkopf und Sohn., 1766). &lt;/a&gt;&lt;/span&gt;&lt;br /&gt;Merritt Room Mus 627.2.426.6&lt;/p&gt;</text>
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                <text>Bey Bernhard Christoph Breitkopf und Sohn (Leipzig, Germany)</text>
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                <text>Published in 1766; acquired in 2011</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://hollisarchives.lib.harvard.edu/catalog/mus00020_mus00020c00026"&gt;Vernon Martin. &lt;em&gt;Ladies’ voices: a chamber opera&lt;/em&gt;. Text by Gertrude Stein. Dyeline vocal score (1955).&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;&lt;a href="https://hollisarchives.lib.harvard.edu/catalog/mus00020"&gt;&lt;span style="text-decoration: underline;"&gt;Jeanne Beauvais Scores, correspondence and other materials, 1927-1988.&lt;/span&gt;&lt;/a&gt;&amp;nbsp;Ms. Coll. 127, Box 1, Folder 23</text>
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                <text>&lt;a href="https://www.youtube.com/watch?v=Ap8dlz6RP7Q"&gt;&lt;span style="text-decoration: underline;"&gt;"The Woman Who Saved Carnegie Hall - Jeanne Beauvais," excerpts from a c. 1980s Beauvais recital filmed by downtown New York videographer Nelson Sullivan (YouTube)&lt;/span&gt;&lt;/a&gt;</text>
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                    <text>Photo of Blades's backstage pass for the 31st Annual Grammy Awards (1989)</text>
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                    <text>Pass reads "All Access" and "A Pierre Cossette Production"; a gold star sticker is affixed to the front</text>
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                    <text>Album poster for Ruben Blades and Son de Solar's &lt;em&gt;Antecedente&amp;nbsp;&lt;/em&gt;(1989)</text>
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                    <text>Features a portrait of Blades with arms crossed</text>
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                    <text>Lyrics read:&amp;nbsp;&lt;br /&gt;&lt;br /&gt;"Vengo del mar y la angostura, &lt;br /&gt;del cruce del camino y de la tarde.&lt;br /&gt;Vengo de las huellas y pisadas,&lt;br /&gt;de gaviotas viajando a contra-luz.&lt;br /&gt;Vengo del tiempo tuyo y del tiempo mío,&lt;br /&gt;de los que llegaron, del que no se fue.&lt;br /&gt;Mis amores se agrietaron y mis sueños&lt;br /&gt;sucumbieron en la estela de los barcos.&lt;br /&gt;Soy de los puertos terminales,&lt;br /&gt;soy de negros cabotajes&lt;br /&gt;e incontable multitud.&lt;br /&gt;Coro 1: Vengo del mar y la angostura,&lt;br /&gt;del cruce del camino y la tarde.&lt;br /&gt;&lt;br /&gt;Fui rebelión, cimarronaje, campanario de &lt;br /&gt;frágiles ciudades. Ruta, viento y polvareda:&lt;br /&gt;fui la fiebre y el oro que pasó.&lt;br /&gt;Coro 2: Nacer de tí, ser la tierra&lt;br /&gt;y el que se queda. Nacer de tí.&lt;br /&gt;&lt;br /&gt;Born from you&lt;br /&gt;&lt;br /&gt;I come from the ocean and the straits, &lt;br /&gt;from the crossroads of highway&lt;br /&gt;and afternoon.&lt;br /&gt;I come behind human footprints and the&lt;br /&gt;steps of seagulls&lt;br /&gt;traveling counter-light.&lt;br /&gt;&lt;br /&gt;I come from your time and mine,&lt;br /&gt;From that of those who arrived,&lt;br /&gt;and those who never left.&lt;br /&gt;My loves cracked and my dreams succumbed in the wake of ships.&lt;br /&gt;I'm from the Terminal ports, from the dark&lt;br /&gt;ocean depths, from the impossible to count multitude.&lt;br /&gt;Chorus 1: I come from the ocean and the straits,&lt;br /&gt;from the crossroads of highways and afternoons.&lt;br /&gt;&lt;br /&gt;I was a rebellion, a slaves uprising, a tower bell&lt;br /&gt;of fragile cities. I was the fever and the gold that [crossed out: came and left] passed on.&lt;br /&gt;Chorus 2: To be born of you, to be the land &lt;br /&gt;and those who stay. To be born of you."</text>
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                    <text>Handwritten &lt;em&gt;soneos&lt;/em&gt; for "Nacer de tí"</text>
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                    <text>On memo paper for New York's Hotel Dorset, lyrics read:&#13;
&#13;
"1) Vengo, vengo, vengo desde el &#13;
magico Caribe&#13;
donde la esperanza vive &#13;
y el amor es estandarte.&#13;
&#13;
2) Soy viento, ron y palmera&#13;
Soy esquina, luna y mar&#13;
Soy un tambor repicando&#13;
en tiempo de Carnaval.&#13;
&#13;
3) Soy el abrazo que espera&#13;
a quien quiera regresar,&#13;
soy la mano saludando &#13;
al que acaba de llegar.&#13;
____&#13;
Ser el camino del que regresa =&#13;
nińo chiquito, beso de abuela&#13;
quiero ser, ay quiero ser, ay quiero ser&#13;
la esperanza del que [???] espera&#13;
____&#13;
Ser la estrellitade mi bandera&#13;
Fiel a mi Patria hasta que muera"</text>
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                <text>Rubén Blades, &lt;em&gt;Antecedente &lt;/em&gt;and the 1989 Grammy Awards</text>
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                <text>&lt;p&gt;&lt;span&gt;While the original version of this exhibition exclusively featured memorabilia from Rubén Blades's appearance at the 1989 Grammy Awards, such as the backstage pass included here, the online version also incorporates materials related to the album (&lt;em&gt;Antecedente&lt;/em&gt;) for which Blades won a Grammy that year, like the poster for the record. &lt;/span&gt;&lt;span&gt;Also shown here are a lightly annotated copy of the official lyrics for the track "Nacer de tí" ("Born from you"), addressed to Panama itself, and a handwritten list of possible lyrics to draw from for the traditionally improvised &lt;/span&gt;&lt;em&gt;soneos&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;/em&gt;&lt;span&gt;in the song's chorus sections. V&lt;/span&gt;&lt;span&gt;ariants of these&amp;nbsp;&lt;em&gt;soneos&lt;/em&gt; made their way into the final album, first sung by Blades at 1:23 on the studio recording. The third, unused couplet reads: "I am the embrace that waits for those who long to return, I am the hand greeting he who just arrived."&lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Geolocation:&amp;nbsp;&lt;/strong&gt;Plaza Herrera in the San Felipe neighborhood of Panama City, where Blades grew up.&lt;/em&gt;&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://library.harvard.edu/collections/ruben-blades-archives"&gt;The Rubén Blades Archives at Harvard University&lt;/a&gt;&lt;/span&gt; &lt;br /&gt;AWM SC Spec Coll 100&lt;/p&gt;</text>
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                <text>&lt;em&gt;Antecedente&lt;/em&gt; released 1988; Grammy Awards in 1989; acquired in 2008</text>
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                <text>Salsa&#13;
Dance music&#13;
National heritage&#13;
Awards</text>
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                <text>&lt;a href="https://www.youtube.com/watch?v=m3yxqETnH8k"&gt;&lt;span style="text-decoration: underline;"&gt;"Nacer De Tí", from Blades's 1988 album &lt;em&gt;An&lt;/em&gt;&lt;em&gt;tecedente&lt;/em&gt; (YouTube)&lt;/span&gt;&lt;/a&gt;</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="http://www.maestravida.com/"&gt;MaestraVida.com, a website dedicated to Blades' life and work created by Alison Weinstock&lt;/a&gt;&lt;/span&gt;</text>
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                    <text>Label reads "116 - EQTESADI, HASSAN ZADEH, NAZARI"; lists 21 tracks with headings for these three singers (two of which are marked, "recorded at my house"); titles include "Parvaneh," "Kacheck nāz maka yāllā," and "Xoji loureh"</text>
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                <text>Lili Boulanger, &lt;em&gt;Cortège&lt;/em&gt;, arranged by Nadia Boulanger</text>
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                <text>&lt;p&gt;This manuscript of Lili Boulanger's 1914 violin-piano duet &lt;em&gt;Cortège &lt;/em&gt;is an arrangement by her sister Nadia for solo violin and chamber orchestra. The full score is in Nadia’s hand; the parts are partly autograph, and partly in a copyist’s hand. While there is no solo violin part, markings in the score indicate it may have been used by the soloist.&lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Geolocation:&amp;nbsp;&lt;/strong&gt;&lt;/em&gt;&lt;em&gt;The Boulangers' family home in Paris, where Nadia lived her whole life.&lt;/em&gt;&lt;/p&gt;</text>
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                <text>The Harvard Jazz Band commissioned this piece from saxophonist Benny Carter in honor of Myra Mayman, director of Harvard’s Office for the Arts from 1973-2001. Carter faxed his handwritten lead sheets to the band before its first performance, to be supplemented by a lead sheet arranged by Allen Feinstein, piano arrangement by Gene Di Novi, and 6-part vocal arrangement by Rob Opdycke. &lt;br /&gt;&lt;br /&gt;This performance by Sarah Lazarus and the Harvard Jazz Band was included in the concert "Mood Crimson: 30 Years of Jazz at Harvard," which took place on April 6, 2002 in Sanders Theatre and continued a long-running concert series pairing major professional figures in jazz with Harvard undergraduates. This rendition includes solos by Lazarus and tenor saxophonists Don Braden and Anton Schwartz, culminating in a special "Happy Birthday" coda.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Geolocation: &lt;/strong&gt;Sanders Theatre at &lt;/em&gt;&lt;em&gt;Harvard University.&lt;/em&gt;</text>
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                <text>Composed in 2001; acquired in 2011</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://hollisarchives.lib.harvard.edu/catalog/mus00035_mus00035c00013"&gt;Benny Carter. “Myra,” revised lead sheet and vocal score (2001).&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;&lt;a href="https://hollisarchives.lib.harvard.edu/catalog/mus00035"&gt;&lt;span style="text-decoration: underline;"&gt;The Tom Everett Collection of Jazz Scores, 1971-2011.&lt;/span&gt;&lt;/a&gt; Ms. Coll. 135, Box 1&lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration: underline;"&gt;&lt;a href="http://id.lib.harvard.edu/alma/990092677580203941/catalog"&gt;"Mood Crimson: 30 Years of Jazz at Harvard" (Cambridge, Mass.: Office of the Arts, Harvard University, 2002).&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;Lamont Library Media CD CDISC LFP 2002cd D</text>
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Arts at Harvard&#13;
Arranging</text>
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                <text>Handwritten leadsheet; published piano arrangement; digitized CD recording</text>
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                    <text>78-rpm disc for &lt;em&gt;In Praise of Learning&amp;nbsp;&lt;/em&gt;</text>
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                <text>&lt;p&gt;"In Praise of Learning" is one of three rare 78s of leftist songs recorded around the time of Hanns Eisler’s first visit to the United States in early 1935. With texts by Bertolt Brecht, the record featured the New Singers conducted by Lan Adomian, baritones Mordecai Bauman and Felix Groveman, and alternately Marc Blitzstein and Eisler himself at the piano. The full set includes the songs “United Front,” “The Soup Song,” “The Internationale,” “We’ve Not Forgotten,” “In Praise of Learning,” and “Rise Up.”&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Geolocation:&amp;nbsp;&lt;/strong&gt;The Capitol Building in Washington, D.C., where Eisler was interrogated by the House Un-American Activies Committee on the basis of songs like "In Praise of Learning."&lt;/em&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;&lt;span style="text-decoration: underline;"&gt;&lt;a href="http://id.lib.harvard.edu/alma/990139024320203941/catalog"&gt;Hanns Eisler. &lt;em&gt;In Praise of Learning; Rise Up&lt;/em&gt;. Text by Berthold Brecht (N.Y.C.: Timely Recording Co., [1936?]).&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;Record Collection 78-36634&lt;/p&gt;</text>
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Labor songs&#13;
Musical theatre collaborators</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://archive.org/details/78_in-praise-of-learning_mordecai-bauman-marc-blitzstein-hanns-eisler-brecht-lan-adomi_gbia0190373a/IN+PRAISE+OF+LEARNING+-+MORDECAI+BAUMAN+-+MARC+BLITZSTEIN.flac"&gt;Full track of "In Praise of Learning" (archive.org)&lt;/a&gt;&lt;br /&gt;&lt;/span&gt;</text>
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                    <text>Manuscript score for four saxophones for "Stormy Weather"</text>
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                    <text>For 3 alto saxophones, notated on one staff, and 1 tenor</text>
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                <text>Duke Ellington, arrangement of Harold Arlen and Ted Koehler's "Stormy Weather"</text>
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                <text>&lt;p&gt;This score for "Stormy Weather," in Ellington’s hand, notates the saxophone section accompaniment to the soloists' melody line. This arrangement, one of at least half a dozen he would devise over three decades, appears in his first recording of the song in 1933.&lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Geolocation:&amp;nbsp;&lt;/strong&gt;&lt;/em&gt;&lt;em&gt;The Cotton Club in Harlem, where Ellington and Ethel Waters made "Stormy Weather" the main attraction of the 22nd &lt;/em&gt;Cotton Club Parade&amp;nbsp;&lt;em&gt;revue&lt;/em&gt;.&lt;/p&gt;</text>
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                <text>&lt;p&gt;&lt;span style="text-decoration: underline;"&gt;&lt;a href="http://id.lib.harvard.edu/alma/990114299230203941/catalog"&gt;Harold Arlen and Ted Koehler. “Stormy Weather.” Holograph of Duke Ellington arrangement.&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;Merritt Room Mus 662.524.41&lt;/p&gt;</text>
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                <text>Written (and first recorded by Ellington) in 1933; acquired in 2008</text>
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                <text>&lt;a href="https://www.youtube.com/watch?v=2NDSVpNLVbk"&gt;&lt;span style="text-decoration: underline;"&gt;"1933 HITS ARCHIVE: Stormy Weather - Duke Ellington (instrumental)" (YouTube)&lt;/span&gt;&lt;/a&gt;</text>
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                <text>&lt;a href="https://hollisarchives.lib.harvard.edu/catalog/mus00006"&gt;&lt;span style="text-decoration: underline;"&gt;The Duke Ellington Recording Collection at Harvard&lt;/span&gt;&lt;/a&gt;, which contains three different entries of "Stormy Weather" recordings</text>
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Big band music&#13;
Musical revues&#13;
Arranging</text>
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