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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>First page of published piano score "Myra", with Carter's handwritten inscription to Myra Mayman</text>
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                    <text>Score contains harmonic annotations and lyrics; inscriptions reads: "To Myra Mayman, for whom this song was written. With admiration and gratitude. Benny Carter"</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>&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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                <text>&lt;em&gt;Broadway Melody of 1940&lt;/em&gt;, draft screenplay and dialogue cutting continuity</text>
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                <text>Film musicals&#13;
Dance&#13;
Comedy&#13;
Screenwriting&#13;
Hollywood&#13;
Musical theatre and jazz</text>
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                <text>&lt;p&gt;Shown here are documents from the beginning and end of production of the MGM musical &lt;em&gt;Broadway Melody of 1940&lt;/em&gt;: a draft screenplay with revisions throughout, dated May 18, 1939, and film editor Blanche Sewell’s copy of the dialogue cutting continuity script dated February 3, 1940, only a week before the film’s February 9 release.&lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Geolocation:&amp;nbsp;&lt;/strong&gt;The former MGM studios in Culver City, California where&amp;nbsp;&lt;/em&gt;Broadway Melody of 1940&amp;nbsp;&lt;em&gt;was filmed.&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/990119988440203941/catalog"&gt;Broadway melody of 1940: draft screenplay by Leon Gordon &amp;amp; George Oppenheimer, from the original story by Jack McGowan &amp;amp; Dore Schary (Culver City: Loew's Inc., 1939).&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;Merritt Room PN1997.B752 1939&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="text-decoration: underline;"&gt;&lt;a href="http://id.lib.harvard.edu/alma/990095504070203941/catalog"&gt;Broadway melody of 1940: Dialogue cutting continuity (Culver City: Loew's Inc., 1940).&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;Merritt Room PN1997.B752 1940&lt;/p&gt;</text>
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                <text>Film released in 1940; acquired in 2005 (continuity) and 2009 (screenplay)</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://www.youtube.com/watch?v=lNEiwKUPXkg"&gt;"Clip HD | Broadway Melody of 1940 | Warner Archive," a scene from &lt;em&gt;Broadway Melody of 1940&lt;/em&gt; (YouTube)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Draft screenplay and dialogue cutting continuity</text>
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                    <text>Page of full score with Italian and German text above/below the voice parts (1 of 4)</text>
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                <text>Copy of Wolfgang Amadeus Mozart, &lt;em&gt;The Marriage of Figaro&lt;/em&gt;</text>
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                <text>Opera&#13;
Manuscript versions&#13;
Classical Era&#13;
Comedy</text>
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                <text>&lt;p&gt;An early manuscript copy in several hands of Mozart's 1786 opera &lt;em&gt;Le Nozze di Figaro &lt;/em&gt;(the unusual misspelling “&lt;em&gt;nozzi&lt;/em&gt;” on the cover is repeated on the title page).&amp;nbsp;This copy, with text in both Italian and German, probably pre-dates Simrock’s 1819 first edition of the German-language full score. Shown here is the climactic moment of the opera's finale, when the Countess forgives the Count for failing her test of his faithfulness.&amp;nbsp;&lt;/p&gt;&#13;
&lt;p&gt;This manuscript omits the recitatives and Susanna and Cherubino’s breathlessly frenetic Act II duettino, “Aprite presto aprite,” but includes Marcellina and Basilio’s original Act IV arias and the 43-measure fandango near the end of Act III (performed in both the Vienna premiere and the 1787 Prague revival, but absent from many early Viennese copyists’ manuscripts). Further comparison with other early exemplars is necessary to trace this manuscript's provenance and possible performance history.&lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://iiif.lib.harvard.edu/manifests/view/drs:43788390$1i"&gt;See the full score here.&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;&lt;em&gt;Geolocation:&lt;/em&gt;&amp;nbsp;&lt;/strong&gt;&lt;em&gt;The Burgtheater in Vienna, where&amp;nbsp;&lt;/em&gt;The Marriage of Figaro&amp;nbsp;&lt;em&gt;was premiered in 1786.&lt;/em&gt;&lt;/p&gt;</text>
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                <text>Mozart, W.A., 1756-1791</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/990114853490203941/catalog"&gt;Wolfgang Amadeus Mozart. &lt;em&gt;La nozzi di Figaro: opera in due atti del Sigr. W.A. Mozart&lt;/em&gt;. Copyist's manuscript, (late 18th or early 19th century).&lt;/a&gt;&lt;/span&gt; &lt;br /&gt;Merritt Room Mus 745.1.639.14&lt;/p&gt;</text>
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                <text>Copied in late 18th or early 19th c.; composed in 1786; acquired in 2008</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://www.youtube.com/watch?v=sL5mptw2cJY"&gt;"Le Nozze di Figaro - Harvard College Opera (Sunday, Feb. 6)," 2022 production (YouTube)&lt;/a&gt;&lt;/span&gt;</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>Label features the album and studio information, as well as a drawing of factory workers</text>
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                <text>Hanns Eisler and Bertolt Brecht, "In Praise of Learning"</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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                <text>Leftist politics&#13;
Labor songs&#13;
Musical theatre collaborators</text>
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                    <text>Featuring print of a figure waving to a ship from a cliff, and a list of other "New Romances" by Malibran (listed here as Madame Garcia de Beriot)</text>
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                <text>&lt;p&gt;French soprano Laure Cinti-Damoreau (1801-1863) and Spanish mezzo-soprano Maria Malibran (1808-1836),&amp;nbsp;two of opera’s most admired &lt;em&gt;bel canto&lt;/em&gt; singers of their day, appear here in a lithograph reproducing portraits by Friedrich Elias. &lt;br /&gt;&lt;br /&gt;Malibran wrote over 40 pieces of salon music, many published in multiple editions during her lifetime; this song, “Au bord de la mer,” sets a text by French Romantic poet Émile Deschamps, who later wrote the libretto for Hector Berlioz's opera &lt;em&gt;Romeo and Juliette&lt;/em&gt;. Dedicated to Baron Paul Pérignon, the song was first published in the 1820s, then reprinted as part of the posthumous series &lt;em&gt;Dernières pensées, album lyrique faisant suite aux Matinées musicales&lt;/em&gt;.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Geolocation:&amp;nbsp;&lt;/strong&gt;The King's Theatre in London, where Malibran made her operatic debut in Rossini's&amp;nbsp;&lt;/em&gt;The Barber of Seville &lt;em&gt;in 1825.&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/990131515980203941/catalog"&gt;Me. Malibran Garcia. Mme. Damoreau Cinti. Lithograph by Wenzel Pobuda and J. Ress after drawings by Friedrich Elias (Munich, Germany : Pobuda, Rees et Cie, [ca. 1835]).&lt;/a&gt;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://id.lib.harvard.edu/alma/990103042400203941/catalog"&gt;&lt;span style="text-decoration: underline;"&gt;Maria Malibran. “Au bord de la mer: romances nouvelles paroles d'Emile Deschamps; musique de Ma. Garcia de Beriot” (Paris: E. Troupenas &amp;amp; Cie., Rue Neuve Vivienne, 40, [1835?]).&lt;/span&gt; &lt;br /&gt;&lt;/a&gt;Merritt Room Mus 742.36.713&lt;/p&gt;</text>
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Munich, Germany : Pobuda, Rees et Cie</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>&lt;p&gt;Pictured are labels for a cassette featuring recordings of four men performing songs and improvised poetry, made at Stephen Blum’s house in Mashhad, Iran (in the northern province of Khorāsān) in January of 1969. This song, young tailor Mahmud Gaffāriān's "Vakilābād," shares its name with a major prison in Mashhad (a theme also found in another song from his session, "&lt;span&gt;Shabi be gusheh-e zendān"):&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&#13;
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&lt;p&gt;&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://hollisarchives.lib.harvard.edu/catalog/mus00025_mus00025c00404"&gt;Hear the recordings of Ebrāhim Eqtesādi, Mohsen Hasanzāde, and Hossein Nazari here.&lt;/a&gt;&lt;/span&gt;&amp;nbsp;&lt;br /&gt;&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://hollisarchives.lib.harvard.edu/catalog/mus00025_mus00025c00428"&gt;Hear more recordings of Mahmud Gaffāriān here.&lt;/a&gt;&lt;/span&gt; &lt;br /&gt;(Click on a link under "contents" until reaching the page for a particular recording, then click on the link under "digital content" to access the audio file.)&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;&lt;em&gt;Geolocation:&amp;nbsp;&lt;/em&gt;&lt;/strong&gt;&lt;em&gt;Mashhad, Iran.&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="https://library.harvard.edu/collections/stephen-blum-collection-music-iranian-khorasan"&gt;The Stephen Blum Collection of Music from Iranian Khorāsān at Harvard University: original ethnographic sound recordings, 1968-2006.&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;AWM RL 16201-16202&lt;/p&gt;</text>
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Musical and linguistic exchange</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>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;
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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>Memorabilia (backstage pass); promotional poster; printed lyrics; and manuscript lyrics</text>
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                    <text>Featuring the songs "Superstar," "Final Hour," "When It Hurts So Bad," and "I Used to Love Him"</text>
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                <text>&lt;p&gt;This vinyl record of Lauryn Hill's legendary 1998 album &lt;em&gt;The Miseducation of Lauryn Hill&lt;/em&gt; is part of Classic Crates, a collaboration between the Hiphop Archive and Research Institute (HARI) and the Loeb Music Library assembling 200 albums based on their importance to the hip-hop community (alongside the original records used in their samples).&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;&lt;em&gt;Geolocation:&amp;nbsp;&lt;/em&gt;&lt;/strong&gt;&lt;em&gt;Bob Marley's Tuff Gong Studios in Kingston, Jamaica, where Hill recorded most of &lt;/em&gt;The Miseducation of Lauryn Hill&amp;nbsp;&lt;em&gt;after beginning production in and around New York.&amp;nbsp;&lt;/em&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;Lauryn Hill. &lt;em&gt;The Miseducation of Lauryn Hill&lt;/em&gt; (New York: Ruff House/Columbia, 1998)&lt;br /&gt;(Originally part of Harvard's &lt;a href="https://sites.harvard.edu/hiphoparchive/classic-crates/"&gt;Classic Crates&lt;/a&gt; Collection)&lt;/p&gt;</text>
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                <text>Rap, Hip-hop, R&amp;B, Soul, Reggae&#13;
Sampling&#13;
Love, spirituality, honesty, Black womanhood&#13;
Concept album&#13;
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                <text>&lt;a href="https://www.youtube.com/watch?v=i3_dOWYHS7I"&gt;&lt;span style="text-decoration: underline;"&gt;&lt;em&gt;Music video for "Everything is Everything," from &lt;/em&gt;The Miseducation of Lauryn Hill (YouTube)&lt;/span&gt;&lt;/a&gt;</text>
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