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                <text>Here you can find all the images used throughout the online exhibit to supplement the featured items. These images do not come from scans of the archival materials themselves, but from a variety of other online sources.</text>
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                    <text>List begins with "München 1948-1949" and ends with "Salzburg Pfingsten Chicago; June 1992 recording"</text>
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                    <text>Final page of third movement in score for&amp;nbsp;&lt;em&gt;Symphonie fantastique &lt;/em&gt;with heavy annotations</text>
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                    <text>Extensive markings indicate tempo, accents, measure-counting, dynamics, and performance style in gray and red pencil</text>
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                    <text>&lt;span&gt;First page of fourth movement in score for&amp;nbsp;&lt;em&gt;Symphonie fantastique&amp;nbsp;&lt;/em&gt;with heavy annotations&lt;/span&gt;</text>
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                    <text>Movement titled "Gang zum Hochgericht"/"Marche au Supplice"/"The Procession to the Stake," with extensive markings regarding dates of performance, tempo, accents, measure-counting, dynamics, and performance style in gray and red pencil</text>
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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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                <text>Composed in 1830; published in 1900; used in performances from 1959-1992;  acquired in 2011</text>
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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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                <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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                <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>&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;
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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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                    <text>Cassette label for recording of Young Snakes and Art Yard</text>
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                    <text>Set list includes the songs Taiwan, No Words, Edge of Time, Heart, Working in a Coalmine, Dada, Bells, Neuvo (?), X+2, Terror, Auto 66</text>
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                    <text>Cassette label  for Lizzie Borden and the Axes, and card for the venue Jumpin' Jack Flash</text>
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                  <text>Popular/ Populist Musics</text>
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                <text>Boston punk/rock cassette tapes, recorded by Arthur Freedman</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>Freedman, Arthur, 1957-</text>
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                <text>Punk&#13;
Counterculture&#13;
Live performance</text>
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                <text>Cassette tapes and backstage pass</text>
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