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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;em&gt;Broadway Melody of 1940&lt;/em&gt;, draft screenplay and dialogue cutting continuity</text>
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                <text>Film musicals&#13;
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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;
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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>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;p&gt;In the late 1970s, Arthur Freedman (b. 1957) began to record in the clubs of Boston, Cambridge, and Somerville. The resulting collection comprises over 720 hours of local rock and punk music performances, some with accompanying material such as set lists, tickets, and technical or performance notes, and many otherwise unrecorded. Shown here are cassettes from four of the gigs he attended:&lt;/p&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt;Influential post-punk band Mission of Burma, recorded July 25, 1982 at The Paradise (C 37523, with backstage pass)&lt;/li&gt;&#13;
&lt;li&gt;New wave band The Young Snakes, featuring Aimee Mann, recorded April 11, 1981 with Art Yard at The Underground (C 37409) and June 8, 1981 with Someone &amp;amp; the Somebodies at Spit Rumble Semi (C 37407, with set list)&lt;/li&gt;&#13;
&lt;li&gt;All-women punk group Lizzie Borden &amp;amp; the Axes, recorded September 6, 1985 at Jumpin’ Jack Flash (C 37357)&lt;/li&gt;&#13;
&lt;/ul&gt;&#13;
&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Geolocation:&lt;/strong&gt;&lt;/em&gt;&lt;em&gt; Jumpin' Jack Flash, a club at which Freedman recorded in the Fenway neighborhood of Boston.&lt;/em&gt;</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://harvardfilmarchive.org/collections/arthur-freedman-collection"&gt;Arthur Freedman Collection&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Recorded 1981-1985; acquired in 2011</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://mps.lib.harvard.edu/sds/audio/438821342"&gt;A digitized live recording from the Freedman collection (a 1981 set at The Paradise by punk/new wave group People in Stores)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>&lt;a href="https://www.youtube.com/watch?v=e16diikS4Zk"&gt;&lt;span style="text-decoration: underline;"&gt;"Young Snakes (Aimee Mann) Me &amp;amp; the Girls - 1981 Demo," including footage of Boston punk scene memorabilia (YouTube)&lt;/span&gt;&lt;/a&gt;</text>
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                <text>Punk&#13;
Counterculture&#13;
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                <text>Cassette tapes and backstage pass</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>Sonatas &#13;
Keyboard music&#13;
Classical era &#13;
Amateur pieces</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>Bach, Carl Philipp Emanuel, 1714-1788</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://www.youtube.com/watch?v=82OAHNdfiAs"&gt;"Keyboard Sonata in F Major, Wq. 53/6, H. 183: III. Presto," performed on clavichord by Miklós Spányi (YouTube)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://news.harvard.edu/gazette/story/2014/02/bach-to-bach/"&gt;"C.P.E. Bach at 300" (2014 Houghton Library and Music Library Exhibition)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Published score</text>
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                  <text>Opera</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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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>&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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              <name>Title</name>
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                  <text>Classical Music</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Georg Solti, annotated score for Hector Berlioz's &lt;em&gt;Symphonie fantastique&lt;/em&gt;</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>Composed in 1830; published in 1900; used in performances from 1959-1992;  acquired in 2011</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>This annotated copy of Berlioz's &lt;em&gt;Symphonie fantastique&lt;/em&gt; was owned by Sir Georg Solti, and chronicles 19 groups of performances dating from 1959-1992. Shown here are the inside cover of the score, listing the dates and orchestra for each of the 19 performance sets, including tours and recordings; the closing page of the third movement, "In the country" (see YouTube video); and the opening of the fourth movement, "March to the scaffold."&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Geolocation:&lt;/strong&gt; &lt;em&gt;Chicago's Symphony Center, the home of the Chicago Symphony Orchestra. Solti was the orchestra's Music Director from 1969-1991, and used this score for five different sets of performances with them.&lt;/em&gt;</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="https://library.harvard.edu/sites/default/files/static/onlineexhibits/solti/"&gt;Music, First and Last: Scores from the Sir Georg Solti Archive (Music Library Digital Exhibition)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>&lt;a href="https://www.youtube.com/watch?v=wiiNgff2sHE&amp;amp;t=840s"&gt;&lt;span style="text-decoration: underline;"&gt;"Berlioz: Symphonie fantastique, Op. 14, H 48 - 3. Scène aux champs (Adagio)," recorded by Solti and the Chicago Symphony Orchestra in 1972 (YouTube)&lt;/span&gt;&lt;/a&gt;</text>
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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;a href="http://id.lib.harvard.edu/alma/990017879000203941/catalog"&gt;Hector Berlioz. Symphonie fantastique: op. 14 (Leipzig: Breitkopf &amp;amp; Härtel, c1900).&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;Sir Georg Solti Archive. Merritt Room Mus 628.3.64 Solti</text>
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            <name>Creator</name>
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                <text>Solti, Georg, 1912-1997</text>
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                <text>Berlioz, Hector, 1803-1869</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Symphonies&#13;
Romanticism&#13;
Instrumental music&#13;
Conductors&#13;
Music notation&#13;
Interpretation and style&#13;
Living document</text>
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            <name>Publisher</name>
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                <text>Breitkopf &amp; Härtel (Leipzig, Germany)</text>
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            <name>Format</name>
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                <text>Annotated published score</text>
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