Viola Mitchell Music Collection

Series I: Eugène Ysaÿe manuscripts, proofs, and published scores

COMPOSER:

Pasquali, Nicolo, approximately 1718-1757.

TITLE:

Sonate en la mineur pour violon solo et basse / harmonized by Eugène Ysaÿe.

IMPRINT:

Het Zoute (Belgium) : Eugène Ysaÿe, 1926.

NOTES:

A working manuscript in the hand of Ysaÿe in purple ink, with many markings in red ink, pencil, and blue and red crayon. Violin part. Caption title in blue crayon: Sonate-Pasquali. The pages are slightly worn with some chipped edges. This manuscript is in the typical style of Ysaÿe. Notable is the first page which was recopied and revised from an earlier version which is found in this manuscript (the second leaf, crossed out, with reworked sketches in pencil in the margins). There are numerous revisions that deal with both musical and violinistic matters. At end: E. Ysaÿe, Zoute s/m, Août 1926, pour Viola Mitchell [Eugène Ysaÿe, Zoute sur mer, August 1926, for Viola Mitchell].

BOX:

15 P2635so op.1 no.4  MitchellBxC01f01

COMPOSER:

Pasquali, Nicolo, approximately 1718-1757.

TITLE:

Sonate en la mineur pour violon solo et basse / harmonisée d’après la basse chiffrée de l’auteur ; harmonized by Eugène Ysaÿe (upon the figured bass of the composer).

IMPRINT:

Brussels : Editions Ysaÿe, 1928.

NOTES:

For violin and piano. Score and part. Inscription in ink on cover, probably in Mitchell’s hand: Viola Blanche Mitchell, Bruxelles 1928. The violin part has markings in pencil and red crayon (mainly fingerings and small revisions), many of which may be in the hand of Ysaÿe. The score has fragile binding, and an inscription on the first page: C’est vous, chère Viola, qui avez, la première fois, joué cette sonate; - c’est à votre talent qu’elle doit la vie! E. Ysaÿe, Bruxelles, 1927 [It is you, dear Viola, who was the first to play this sonata. It is to your talent which it owes its life! E. Ysaÿe, Brussels, 1927.] The score also has markings in crimson crayon and pencil. Note how the inscription is dated 1927, while the copyright date is 1928. Also, Mitchell’s date on the inside cover is corrected from 1928 to 1927 (since the ‘7’ is in a different ink).

BOX:

15 P2635so op.1 no.4 Ysaye  MitchellBxC01f02

COMPOSER:

Pasquali, Nicolo, approximately 1718-1757.

TITLE:

Sonate en la mineur pour violon solo et basse, harmonisée d’après la basse chiffrée de l’auteur ; harmonized by Eugène Ysaÿe (upon the figured bass of the composer).

IMPRINT:

Brussels : Editions Ysaÿe, 1928.

NOTES:

Score and part. Inscription in ink on cover, probably in Mitchell’s hand: Viola Mitchell. The score has an innermost leaf separated from the binding, and has markings in pencil on pages 15, 16, 17, and 21.

BOX:

15 P2635so op.1 no.4 Ysaye  MitchellBxC01f03

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Lointain Passé : Mazurka Nr. 3, H moll für Violine und Piano, op. 11.

IMPRINT:

Leipzig : Breitkopf und Härtel, 1893.

NOTES:

Score and part. Inscription in ink on cover, probably in Mitchell’s hand: Viola B. Mitchell, Bruxelles, 1927. The violin part, also with her name on top, has several markings in blue crayon which are probably in the hand of Ysaÿe. Notable are the indications in English, and an indication in one passage evidently suggesting use of the thumb in pizzicato.

BOX:

15 Ys89ℓo Breit MitchellBxC01f04

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Poème Élégiaque, Op. 12 / new edition revised by Carlo Van Neste.

IMPRINT:

Brussels : Editions Ysaÿe, 1968.

NOTES:

Score and part. The last page of the score shows that this print is no. 26 in a limited run of 30 copies reserved for the editor (Antoine Ysaÿe) and his friends. The last page also has an inscription by Antoine Ysaÿe to Viola Mitchell: A Viola Mitchell (Fearnside) qui a travaillé cette belle oeuvre avec le maître, Avec toutes les [illegible text] affectueuses de l’editeur, A. Ysaÿe 10/10/68 [To Viola Mitchell (Fearnside), who had worked on this beautiful piece with the master, with all the affectionate [illegible text] of the editor, A. Ysaÿe, 10/10/68].

BOX:

15 Ys89poe Ysaye MitchellBxC01f05

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Au rouet: deuxième poème pour violine et orchestre, op. 13.

IMPRINT:

Brussels : Editions Ysaÿe, 1921.

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on cover, probably in Mitchell’s hand: Viola Blanche Mitchell, Bruxelles Belgique, 1927. The violin part, also with her name on the front page, has several markings in blue and red crayon and pencil, which are probably in the hand of Ysaÿe. Inscription on the caption of the part in  blue crayon: on ne doit pas apercevoir la technique dans ce morceau, E.Y. Très très leger [One must not perceive technique in this work, Eugène Ysaÿe. Very very light]. The score has markings in pencil with notes in English, probably not in Ysaÿe’s hand, and possibly in Mitchell’s hand.

BOX:

15 Ys89au Ysaye MitchellBxC01f06

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Rêve d’enfant : pour violon avec accompagnement d’orchestre, op. 14 / réduit ou de piano.

IMPRINT:

Paris: Enoch et Cie., 1901.

NOTES:

Arranged for violin and piano. Score and part. The score is worn and fragile. Inscription in ink on cover of score and preliminary page of part, probably in Mitchell’s hand: Viola B. Mitchell. The score has markings in pencil and blue crayon, probably in Ysaÿe’s hand. Inscription in ink on caption of part: Sans sourdine avec orchestre, avec sourdine avec piano. E.Y. [Without mute with orchestra, with mute with piano. Eugène Ysaÿe].

BOX:

15 Ys89re Enoch MitchellBxC01f07

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Chant d’hiver : 3ème poème pour violon et orchestre, op. 15.

IMPRINT:

London: Enoch & Sons, 1902.

NOTES:

Arranged for violin and piano. The score and part are in good condition except for a tear in the upper right of the title page, but fragile. Inscription in ink on title page, probably in Mitchell’s hand: Viola B. Mitchell. Additional inscription in ink on title page: 66 rue de la Grand, Ile Copyst C. de Grom. (Perhaps this ‘Grom’ is the copyist employed a few times by Ysaÿe?). Pencil markings on page 7 of part, probably in Ysaÿe’s hand.

BOX:

15 Ys89ch Enoch MitchellBxC01f08

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Berceuse pour violon avec accompagnement d’orchestre de cordes, flûte et 2 cors, op. 15.

IMPRINT:

Brussels : Schott Frères, 1921.

NOTES:

Arranged for violin and piano. Score and part bound in cardboard covers with typescript cover titles subsequent to publication. The score is repaired with adhesive tape, and the violin part is stained with dried glue. Inscription in ink on title page of violin part, probably in Mitchell’s hand: Viola B. Mitchell, Bruxelles, 1927. The score has one marking in pencil near the bottom of the first page, possibly in Ysaÿe’s hand.

BOX:

15 Ys89be Ysaye MitchellBxC01f09

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Extase : 4me poème pour violon et orchestre, op. 21.                                                             

IMPRINT:

Brussels : Schott Frères, 1921.

NOTES:

Arranged for violin and piano. Score and part. The score is in good condition (except for torn edges in the violin part) but fragile. Inscription in ink on cover of score, probably in Mitchell’s hand: Viola B. Mitchell. Inscription in ink on caption of part, initialed by Ysaÿe: La rêve d’enfant, E.Y. There are several markings on part in pencil and red crayon, probably in two different hands, including some in Ysaÿe’s hand. Some comments are in English. There is a musical passage in Ysaÿe’s hand on page 8 of the part, replacing notation one measure before rehearsal L. The score has markings in pencil, probably in Ysaÿe’s hand.

BOX:

15 Ys89ext Ysaye MitchellBxC01f10

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Les neiges d’Antan! : pour violon avec accompagnement d’orchestre de cordes, op. 23.

IMPRINT:

Brussels : Schott Frères, 1921.

NOTES:

Arranged for violin and piano. Score and part. The score is in good condition. Inscription in ink on cover of score and preliminary page of part, probably in Mitchell’s hand: Viola Blanche Mitchell, Bruxelles, 1928.

BOX:

15 Ys89ne Ysaye MitchellBxC01f11

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Divertimento : fantaisie pour violon et orchestre, op. 24.

IMPRINT:

Brussels : Schott Frères, 1921.

NOTES:

Arranged for violin and piano. Score and part. The score is in good condition, with the spine reinforced. Inscription in ink on cover and part, probably in Mitchell’s hand: Viola Blanche Mitchell. The violin part has markings in blue and red crayon, including a revised passage, probably in Ysaÿe’s hand.

BOX:

15 Ys89di Schott MitchellBxC01f12

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Amitié : poème no. 6 pour 2 violons et orchestre, op. 26.

IMPRINT:

Brussels : Editions Ysaÿe, 1927.

NOTES:

Arranged for 2 violins and piano. Folder houses a score and 3 parts, which includes an additional Violin B part, apparently a printer’s proof copy: the pages are printed on one side only, and bound with twine and cloth tape; corrections in pencil are largely reflected in the published edition found in this set. The score is in good condition, with an inscription in ink on the cover, probably in Mitchell’s hand: Viola B. Mitchell, Brussels, Belgium, 1927. Inscription in ink on published parts, probably in Mitchell’s hand: Viola B. Mitchell, Brussels, 1927. Of the published violin parts, Violon A has two markings in red crayon, and Violon B has a marking in blue crayon, both probably in Ysaÿe’s hand. The score carries an inscription on the caption in Ysaÿe’s hand: A vous, ma chère élève cette oeuvre que vous avez jouée si merveilleusement à Liège 13 Xbre 1927 [To you, my dear student, this work which you had played so marvelously in Liège 13 October 1927]. Note that the year seems to have been first written 1926, with the 6 then blotted with a 7 superimposed on top. (The number 7 is probably the later revision, noting both Mitchell’s dating of the score, and how the ink darkens precisely just where the figure of the written 7 intersects the ink from the blurred number 6).

BOX:

15 Ys89am Ysaye MitchellBxC01f13

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Six sonates pour violon seul, op. 27.

IMPRINT:

Brussels : Editions Ysaÿe, 1924.

NOTES:

For violin. Score. The cover is detached, trimmed, and repaired with adhesive tape, and the binding is damaged. Inscription in black ink on the cover: Viola B. Mitchell, Brussels, 1926. Below are inscriptions in faded pencil where one can make out the name: Gevaert. Inscription in pencil on title page: Berceuse d’enfant, Rêve d’enfant. This score is a limited edition, numbered 00027 between 11 to 310. This score is particularly valuable for its markings in pencil, and mostly in the hand of Ysaÿe. (The source of some markings is questionable, possibly not Ysaÿe.) The markings show a great flexibility in suggested bowings and fingerings, and sometimes even revisions of passages, most probably in the interest of tailoring these works to Ms. Mitchell. Even if all the markings are not by Ysaÿe, it can be opined that the nature and freedom of many of the customized musical and violinistic ideas give a valuable insight into Ysaÿe’s master-to-student creative process. In many of the revisions, one can note the very probable interest in maximizing a given performer’s (Ms. Mitchell’s) character and strengths. And a few of the revisions are similar or identical to those made in Ysaÿe’s own (printed) copy (held in Liège). A few of the movements (e.g. Sonata No. 1, 3^rd movement; Sonata No. 2) are unmarked. Notable, is a confirmation (in English) of the suggestion by Ysaÿe once given to Kreisler to repeat the motive for two measures before the beginning of the Sarabande in Sonata No.4 (even though it is questionable whether this annotation is written in Ysaÿe’s hand): repeat theme for 2 bars before beginning.

BOX:

15 Ys89so op.27 Ysaye MitchellBxC01f14

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Poème nocturne : poème no. 7, pour violon, violoncelle et orchestre, op. 29.

IMPRINT:

Brussels : Editions Ysaÿe, 1927.

NOTES:

Arranged for violin, cello, and piano. The score and two parts are in good condition. Inscription on score and parts, probably in Mitchell’s hand: Viola Blanche Mitchell, Le Zoute sur Mer, 1927.

BOX:

22.32 Ys89pon Ysaye MitchellBxC01f15

COMPOSER:

Saint-Saëns, Camille, 1835-1921.

TITLE:

Caprice d’après l’étude en forme de valse, op. 52, no. 6 / arranged for violin and orchestra by Eugène Ysaÿe.

IMPRINT:

Paris : A. Durand et Fils, [approximately 1927]

NOTES:

Arranged for violin and piano. Score and part. Inscription in black ink on title page of score, probably in Mitchell’s hand: Viola Mitchell, 1927. Inscription on caption of violin part, probably in Mitchell’s hand: Viola B. Mitchell, Bruxelles, 1927. The violin part has numerous markings in pencil and red crayon, probably in Ysaÿe’s hand, with several markings making note of interesting technical matters (e.g. Ne bougez pas la main [Do not move the hand]). The score has numerous markings in pencil, probably not in Ysaÿe’s hand. One interesting comparison, noting the difference in handwriting, is a marking at rehearsal 5: une surprise in the violin part, and as surprise in the score.

BOX:

15 Ys89ca Dur MitchellBxC01f16

COMPOSER:

Vitali, Tomaso Antonio, 1663-1745.

TITLE:

Chaconne for violin / arranged for violin and organ by Eugène Ysaÿe.

IMPRINT:

Brussels : C. de Grom, 1927.

NOTES:

Manuscript score and part by the copyist C. de Grom. Inscription on the cover of the score and part: Viola B. Mitchell, Brussels, 1927. Inscription at end of violin par: C. de Grom, copiste, Bruxelles, 1927. The violin part is heavily marked in blue crayon, in Ysaÿe’s hand, and markings in pencil, probably in Ysaÿe’s hand. The score has several markings in blue crayon and pencil, probably not in Ysaÿe’s hand (and probably the hand of the organist).

BOX:

15 V832c Ysaye 1927 MitchellBxC01f17

SEE ALSO:

Vitali, Tomaso Antonio, 1663-1745. Chaconne in G-moll / arranged by Léopold Charlier. MitchellBxC21f01

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Fantaisie pour violon et orchestre, op. 32.

IMPRINT:

Brussels : Editions Ysaÿe, 1927.

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on cover, probably in Mitchell’s hand: Viola Blanche Mitchell, Bruxelles, Jan. 10, 1928. On the cover verso is a printed note about a limited edition, but no serial number is printed. Inscription underneath in crimson ink by Ysaÿe to Viola Mitchell: Mademoiselle Viola Mitchell, qui donna la 1re audition de l’oeuvre, avec orchestre à Bruxelles mars 1928, E. Ysaÿe [Miss Viola Mitchell, who gave the first performance of this work, with orchestra, in Brussels, March 1928. E. Ysaÿe]. Inscription in ink on cover of violin part: Viola B. Mitchell, Brussels, 1928.

BOX:

15 Ys89fa Ysaye MitchellBxC02f01

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Fantaisie pour violon et orchestre, op. 32.

IMPRINT:

Brussels : Editions Ysaÿe, 1927.

NOTES:

Arranged for violin and piano. Score and part. The score is in good condition. Inscription in ink on cover of score and caption of part, probably in Mitchell’s hand: Viola Blanche Mitchell, Le Zoute, 1927. Inscription in ink on cover of score under Mitchell’s inscription, in the hand of Jacques Thibaud: who plays like an angel!, Jacques Thibaud. The violin part has markings in pencil and blue crayon, probably in two hands, of which one is probably Ysaÿe’s, and the other, Mitchell’s. The score has a few markings in pencil near the end, probably in Ysaÿe’s hand.

BOX:

15 Ys89fa Ysaye MitchellBxC02f02

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Fantaisie pour violon et orchestre, op. 32.

IMPRINT:

Brussels : Editions Ysaÿe, 1927.

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on cover, probably in Mitchell’s hand: Viola B. Mitchell, Brussels, 1928.

BOX:

15 Ys89fa Ysaye MitchellBxC02f03

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Fantaisie pour violon et orchestre, op. 32.

IMPRINT:

Brussels : Editions Ysaÿe, 1926 [1927]

NOTES:

Printer’s proof or preliminary copy of solo violin part. Unbound leaves, damaged at top. Inscriptions on recto of leaf 2 in blue crayon: BR [top left corner]; Violon, Solo [top right corner]; Fantaisie [middle of leaf]. There are numerous revisions and annotations in crimson ink, pencil, and blue and red crayon, probably in Ysaÿe’s hand. Inscription in red ink at end:  Procédé special d'electrogravure, Imprimerie Nationale de Musique, Bruxelles.

BOX:

15 Ys89fa Ysaye part MitchellBxC02f04

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Exercises et gammes, op. posth.

IMPRINT:

Brussels : Editions Ysaÿe, 1967.

NOTES:

Score. Copy 5 of a limited edition series of 20 copies printed on Sweetprint paper. Inscription in ink on cover, probably in Mitchell’s hand: Viola Mitchell Fearnside. Inscription by Antoine Ysaÿe inside front cover: Exemplaire de Viola Mitchell Fearnside ancienne élève d’Eugène Ysaÿe, A. Ysaÿe 2/11/67 [A copy for Viola Mitchell Fearnside, former student of Eugène Ysaÿe, A. Ysaÿe Nov. 2, 1967]. Below that inscription is one by Joseph Szigeti (signed in his nickname): For my dear Viola in memory of old times, Jóska Sz. Inscription by Antoine Ysaÿe on page 2: A notre fonds arrive de toujours[?]: Viola Mitchell Fearnside qui n’a jamais cessé d’apporter le tribut d’admiration dû à son maître: Eugène Ysaÿe. Affectueux hommage de l’éditeur, A. Ysaÿe 3/11/67 [From our collection comes as always[?]: Viola Mitchell Fearnside, who never ceased to support the admiration due to her master, Eugène Ysaÿe. [from] the affectionate homage of the editor, A. Ysaÿe November 3, 1967.] Brief note in pencil below the editor’s preface on page 2.

BOX:

16 Ys89ex Schott 1967 MitchellBxC02f05

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Sonate pour deux violons seuls, op. posth.

IMPRINT:

Brussels : Editions Ysaÿe, 1967.

NOTES:

Score. Rare edition. Black and white facsimile of Ysaÿe’s holograph. (The currently available edition is different, and is that of a copyist.) Preface in French by the composer explains the circumstances in which he wrote the work. Inscription in ink by Antoine Ysaÿe on preface page: A cette chère et fidèle amie Viola Fearnside-Mitchell avec toute notre gratitude affectueuse, A. Ysaÿe 21/6/67 [To dear and loyal friend Viola Fearnside-Mitchell, with all our affectionate gratitude, Antoine Ysaÿe, June, 21, 1967.] (Note the reversed order of her last name.) Pages 35 to 42 are incorrectly bound with each leaf flipped horizontally, and pages 49 and 50 are missing.

BOX:

15 Ys89so2 Ysaye MitchellBxC02f06

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Concerto d’après deux poèmes.

IMPRINT:

Brussels : Schott Frères, 1962.

NOTES:

Arranged for violin and piano. Score and part. Facsimile of manuscript by Jacques Ysaÿe or a copyist. This is a rare copy of this work, a ‘concerto’ arranged by Jacques Ysaÿe (Antoine Ysaÿe’s son, and therefore, Eugène Ysaÿe’s grandson) from two poèmes of Ysaÿe. The pages are folded or of two pieces taped together, bound by tape (violin part) and glue (score) at the spine.

BOX:

15 Ys89cdp Schott MitchellBxC02f07

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Cadences pour le Concerto en ré majeur de Beethoven, op. posth.

IMPRINT:

Bruxelles: Editions Ysaÿe, 1966.

NOTES:

Inscription by Antoine Ysaÿe on title page: A Viola Mitchell, Respectueusement, A. Ysaÿe 25/11/66. Stamp impression in ink on title page: Hommage des Editions Ysaÿe.

BOX:

15 B393c Ys89 Ysaye MitchellBxC02f08

COMPOSER:

Chausson, Ernest, 1855-1899.

TITLE:

Poème, op. 25.

IMPRINT:

Leipzig : Breitkopf & Härtel, 1898.

NOTES:

Arranged for violin and piano. Score and part. Fragile condition, bound in blue cardboard covers. Stamp impression in ink on cover of score and part: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription on part cover, possibly in Antoine Ysaÿe’s hand: Doigtés, coups d’archet et modifications par Eugène Ysaÿe. Inscription in blue crayon on title page of part: V Mitchell. Inscription in ink on title page of part, probably in Ysaÿe’s hand: Viola Mitchell.  Copious markings on part in Ysaÿe’s hand in blue and red crayon and pencil; paste-over in manuscript black ink on page 6. Of particular note is Ysaÿe’s initials on the first page, and a hand-written modification (most likely in Ysaÿe’s hand) pasted in the last page. The score has markings in pencil, possibly in Ysaÿe’s hand.

BOX:

15 C396p Breit 1898 MitchellBxC02f09

COMPOSER:

Chausson, Ernest, 1855-1899.

TITLE:

Poème, op. 25.

IMPRINT:

Leipzig : Breitkopf & Härtel, 1898.

NOTES:

Arranged for violin and piano. Score and part in fragile condition with tape repairs. Stamp impression in ink on score cover and title page of part: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription on score cover, probably in Mitchell’s hand: Viola Mitchell, Paris, 1925. Inscription in ink on title page of part, probably in Mitchell’s hand: Mlle. Viola Mitchell. The part has numerous markings in blue and red crayon and pencil, with some in Ysaÿe’s hand, and some possibly not in Ysaÿe’s hand. The score has markings in pencil, probably not in Ysaÿe’s hand.

BOX:

15 C396p Breit 1898 MitchellBxC02f10

COMPOSER:

Chausson, Ernest, 1855-1899.

TITLE:

Poème, Op. 25 / arranged for violin, piano, and organ by Eugène Ysaÿe

IMPRINT:

[Place of production not indicated] : [producer not indicated], [approximately 1928]

NOTES:

Manuscript in black and red ink, possibly in the hand of C. de Grom. Two scores, labeled respectively Piano and OrgueI on their covers. Inscription on cover of each score: Viola Blanche Mitchell, Brussels, 1928.

BOX:

27 C396p op.25 1928 MitchellBxC02f11

COMPOSER:

Chopin, Frédéric, 1810-1849.

TITLE:

Valse en mi mineur / arranged for violin and piano by Eugène Ysaÿe.

IMPRINT:

Brussels : Editions Ysaÿe, 1926.

NOTES:

Score and part. Inscription in ink on cover of score, probably in Mitchell’s hand: Viola Blanche Mitchell, Bruxelles, 1927. Stamp impression in ink on cover: Editions YSAŸE 12F00. The cover is detached, torn, and worn. Inscription in ink on caption of violin part: Viola Blanche Mitchell. The part has numerous markings in pencil, black ink and red crayon. The markings in black ink and red crayon are probably in Ysaÿe’s hand. The markings in pencil are probably in Mitchell’s hand. The score has numerous markings in pencil, red crayon, blue crayon, and black ink. The markings in red crayon, blue crayon, and black ink are probably in Ysaÿe’s hand. The markings in pencil are probably in Mitchell’s hand.

BOX:

15 C456wa B.56 Ysaye MitchellBxC02f12

COMPOSER:

Leclair, Jean-Marie, 1697-1764.

TITLE:

Concerto “a l’Infant” : en ré mineur, op. 7, No. 1 / harmonized and arranged by Eugène Ysaÿe, op. posth ; piano reduction by Jacques Ysaÿe.

IMPRINT:

Brussels : Editions Ysaÿe, 1968.

NOTES:

For violin and piano. Score and part. On the title page verso is a printed note specifying that this is copy 30 from a limited edition series of 30, printed on Sweetprint paper. Below that is an inscription in ink by Antoine Ysaÿe: Exemplaire de Viola Mitchell (Fearnside) elève du maître, Hommage de A. Ysaÿe 10/10/68 [Copy for Viola Mitchell (Fearnside), student of the master, homage from Antoine Ysaÿe, October 10, 1968].

BOX:

15 L496co op.7 no.1 Ysaye MitchellBxC02f13

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Cadences pour le Concerto pour violon no. 3 (sol majeur) de W.A. Mozart (K. 216) / new edition revised by Louis Persinger.

IMPRINT:

Brussels : Editions Ysaÿe, 1967.

NOTES:

Violin part. The part is folded and creased in the middle. Inscription in ink on title page: A Viola Fearnside Mitchell, A. Ysaÿe, 4/8/67. Stamp impression in ink on title page: Hommage des Editions Ysaÿe.

BOX:

15 M877c K.216 Ys89 Ysaye MitchellBxC02f14

COMPOSER:

Nardini, Pietro, 1722-1793.

TITLE:

Sonate en ré majeur pour violon solo et basse / harmonized by Eugène Ysaÿe.

IMPRINT:

Brussels : Editions Ysaÿe, 1924.

NOTES:

Score and part. Inscription in ink on cover of score and title page of part, probably in Mitchell’s hand: Viola B. Mitchell, Bruxelles, 1927. The score has markings in pencil, probably in Ysaÿe’s hand, with a note (half in English?) initialed by Ysaÿe on page 11. The part has markings in blue crayon in Ysaÿe’s hand.

BOX:

15 N166so op.2 no.5 Ysaye MitchellBxC02f15

COMPOSER:

Rameau, Jean-Philippe, 1683-1764.

TITLE:

Suite de pièces de clavecin / revised and adapted for the violin and piano by Eugène Ysaÿe.

IMPRINT:

Brussels : C. de Grom, 1927.

NOTES:

Manuscript in ink. Score and part. Signed and dated at the end by Ysaÿe’s copyist: C. de Grom copiste, Bruxelles, 1927. Inscription on covers of score and part, probalby in Mitchell’s hand: Viola B. Mitchell, Brussels, 1927. Apart from the black and red ink used by de Grom, the violin part has markings in blue crayon, red crayon, and pencil which are probably in Ysaÿe’s hand. The score has minor markings in pencil on pages 22 and 24.

BOX:

15 R144pi 1724 AA MitchellBxC02f16                                                                                                                        

COMPOSER:

Rameau, Jean-Philippe, 1683-1764.

TITLE:

Suite de pièces de clavecin / revised and adapted for the violin and piano by Eugène Ysaÿe.

IMPRINT:

Brussels : Editions Ysaÿe, 1927.

NOTES:

Score and part. Inscription in ink on cover of score, probably in Mitchell’s hand: Viola Blanche Mitchell, Bruxelles, 1927. Inscription in ink on cover of part, probably in Mitchell’s hand: Viola B. Mitchell, Bruxelles, 1927. Printed note on score cover verso: Cette adaption a été jouée pour la première fois par Mademoiselle Viola MITCHELL à la cour de Belgique. Hiver 1927 [This adaptation was first performed by Miss Viola Mitchell at the Belgian court. Winter of 1927.] The violin part has several markings in pencil and red ink. The markings in red ink are probably by Ysaÿe, but some or all of the markings in pencil may be in Mitchell’s hand. The score has markings in pencil, purple ink, and red ink. The markings in ink are probably in Ysaÿe’s hand, but the markings in pencil may be different.

BOX:

15 R144pi 1724 AA Ysaye MitchellBxC02f17

Series II: Scores marked by Eugène Ysaÿe

COMPOSER:

Bach, Johann Sebastian, 1685-1750.                                                  

TITLE:

6 Sonates [Sonatas and partitas for solo violin].

IMPRINT:

Paris: Maurice Senart, 1915.

NOTES:

Score in extremely fragile condition, and incomplete (the last two movements of Partita in E major are missing). The edition is the one edited by Lucien Capet. There are markings in pencil, blue crayon, and red crayon, many but not all of which are probably in Ysaÿe’s hand or at least copied closely from a copy with Ysaÿe’s markings. A few of the markings go beyond fingerings and bowings and suggest minor alterations or embellishments (e.g. Double of the Tempo di Bourrée). Contents: Sonata in G minor: Adagio; Fuga; Siciliano; Presto -- Partita in B minor: Allemanda; Double; Corrente; Double; Sarabande; Double; Tempo di Bourée; Double -- Sonata in A minor: Grave; Fuga; Andante (no markings); Allegro -- Partita in D minor: Allemande; Corrente; Sarabande; Gigue; Ciaccona (has a note on top: doigtées d’E.Y. [fingerings by Eugène Ysaÿe]) -- Sonata in C major: Adagio (no markings); Fuga (no markings); Largo (no markings); Allegro -- Partita in E major: Preludio; Louré; Gavotte en Rondeau; Menuet I and II (II has no markings).

BOX:

MitchellBxC03f01

COMPOSER:

Bach, Johann Sebastian, 1685-1750.

TITLE:

Konzert No. 3 für 2 Violinen.

IMPRINT:

Leipzig : C.F. Peters, 1920.

NOTES:

Arranged for 2 violins and piano. Score and 2^nd violin part. Inscription in ink at top of score cover: Margaret W. Horne; below, some addresses inscribed in pencil. The title page has various annotations in pencil, in English and French, possibly in Ysaÿe’s hand. Some of the comments are possibly lesson notes for the Rameau work Suite de pièces de clavecin (see MitchellBxC02, folders 16 and 17). The last page is filled with comments about a Handel work, also possibly in Ysaÿe’s hand. Inscription in red crayon at top left corners of title page and page 2 of part: EY [Eugène Ysaÿe]. The part has many markings in pencil, red crayon and blue crayon, probably in Ysaÿe’s hand. The score has many markings in pencil, probably in Ysaÿe’s hand, concentrating almost exclusively on the first violin part.

BOX:

MitchellBxC03f02

COMPOSER:

Beethoven, Ludwig van, 1770-1827.

TITLE:

Concerto for violin and piano, op. 61 / edited by Leopold Auer.

IMPRINT:

New York : Carl Fischer, 1917.

NOTES:

The score and part are torn and in fragile condition. Inscription in pencil on score cover and title page of part: Viola Mitchell and Viola Blanche Mitchell. The violin part spine is bound in cloth tape. The part is full of markings and annotations in pencil, red crayon, and blue crayon. Many of the markings in crayon are possibly in Ysaÿe’s hand, but many of the markings in pencil may not be. This part gives a valuable hint to the freedom which Ysaÿe exercised in this concerto, especially in terms of bowing. The score has markings in pencil, but probably not in Ysaÿe’s hand.

BOX:

MitchellBxC03f03

COMPOSER:

Beethoven, Ludwig van, 1770-1827.

TITLE:

Concerto for violin and piano, op. 61.

IMPRINT:

Frankfurt: Edition Peters, [1915?]

NOTES:

Violin part. The cover is makeshift and torn. There is no mention of Viola Mitchell’s name. The part has markings and a musical notation in pencil and blue crayon. Most of the markings are not in Ysaÿe’s hand. Only the markings in blue crayon are possibly in Ysaÿe’s hand.

BOX:

MitchellBxC03f04

COMPOSER:

Beethoven, Ludwig van, 1770-1827.

TITLE:

Romance en sol, op. 40 / edited by Édouard (Louis) Nadaud.

IMPRINT:

Paris : Costallat & Cie.

NOTES:

The score and part are torn, taped, and in fragile condition. Inscription on score cover and preliminary page of part: Viola B. Mitchell, Paris, 1926. Inscription on upper right corner of preliminary page of part: E.Y. [Eugène Ysaÿe]. The violin part has many markings in pencil, and the markings are possibly in Ysaÿe’s hand, or at least copied closely from his part. The score has markings in pencil, but probably not in Ysaÿe’s hand.

BOX:

MitchellBxC03f05

COMPOSER:

Beethoven, Ludwig van, 1770-1827.

TITLE:

Sonatas for violin and piano, op. 12, 23, 24, 30, 47, and 96 / edited by Adolf Brodsky.

IMPRINT:

New York : G. Schirmer, 1894.

NOTES:

Schirmer Library of Musical Classics ; vol. 232. Violin part. Stamp impression in ink on caption: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription on caption in faded red crayon: EY [Eugène Ysaÿe]. Binding repaired with cloth tape. Pages are torn and repaired with adhesive tape. The first page is detached. Markings, some of which may be in Ysaÿe’s hand, are probably otherwise in Mitchell’s hand. Sonatas marked EY probably signify that the markings are from Ysaÿe’s part.

Op. 12, No. 1: Markings in red crayon and pencil.

Op. 12, No. 2: Inscription in pencil on caption: Carey [?] EY. [If the note does indeed say Carey, that may refer to Ysaÿe’s daughter.] Markings in pencil.

Op. 12, No. 3: Inscription in pencil on caption: Carey [?]. [See note for Op. 12, No. 2]. Markings in pencil.

Op. 24: Inscription in pencil on caption: EY. Numerous markings in pencil.

Op. 30, No. 2: Inscription in pencil on caption: EY. There are numerous markings in pencil and red crayon.

Op. 30, No. 3: Inscription in pencil on caption: Carey. [See note for Op. 12, No. 2.] Several markings in pencil and red crayon.

Op. 47: A few markings in pencil in the 1st movement.

Op. 96: Markings in pencil. There are timings written in pencil in English at the end of each movement, and an inscription on the caption: Total time 27 ½ min.

BOX:

MitchellBxC03f06

COMPOSER:

Brahms, Johannes, 1833-1897.

TITLE:

Concerto de violon en ré, op. 77.

IMPRINT:

Berlin : Simrock, [1879?]

NOTES:

Arranged for violin and piano. Score and part are torn, taped, and in very fragile condition. Inscription on score cover, probably in Mitchell’s hand: Viola B. Mitchell, Bruxelles, 1927. Stamp impression in ink on score cover and caption of part: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Violin part spine bound in cloth tape. The part is full of markings and annotations in pencil, green ink [?], red crayon, and blue crayon. Some of the markings (like the ones in blue crayon) are probably in Ysaÿe’s hand, but a large portion are probably in Mitchell’s or another’s hand. Part of the last page is torn, and consequently a small chunk of music is missing from the coda of the third movement. The score has markings in pencil, probably in Ysaÿe’s hand. (Note the differences in bowing between this and the violin part in the first few measure of the solo part in the first movement.) Pages 36 and 37 are stuck at the bottom corner. There are also fingerings for the score (e.g. on page 38). Inscriptions on back cover: Viola Mitchell [ink]; César Franck Sonata [pencil].

BOX:

MitchellBxC03f07

SEE ALSO:

Ysaÿe, Eugène, 1858-1931. Cadence pour le concerto de violon de J. Brahms. MitchellBxC21f08

Ysaÿe, Eugène, 1858-1931. Cadence pour le concerto de violon de J. Brahms. MitchellBxC03f08

Ysaÿe, Eugène, 1858-1931. Cadence pour le concerto de violon de J. Brahms. MitchellBxC21f08

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Cadence pour le concerto de violon de J. Brahms.

IMPRINT:

[Place of production not identified] : [Viola Mitchell?], [1925?]

NOTES:

Manuscript of the cadenza to the Brahms violin concerto, probably copied out from Ysaÿe’s original (or a copy of that by another student) by Viola Mitchell. A tear at the top takes out a few notes. Stamp impression in ink on title page: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription in pencil at foot of 1^st page of music: soulignes bien les changements des tonalités, EY [emphasize the changes in harmony, Eugène Ysaÿe]. There are several markings in pencil, and an instance in red crayon and blue crayon, probably in the hand of Ysaÿe. At end in pencil: Viola Mitchell, 35 Avenue Foch, Cormeilles-en-Parisis. This item was paired with the contents of MitchellBxC03f07 (Brahms, Concerto de violon en ré, op. 77, published: Berlin : Simrock, [1879?). This copy may have been copied out from the working manuscript of this cadenza in Ysaÿe’s hand, as housed at the Royal Conservatory in Liège. The reason for this is the passage written after and separated from the main cadenza. The working manuscript has a similar passage, also separated from the main cadenza, raising the possibility that this copy may have been made from that working manuscript.

BOX:

15 B731c Ys89 Mitchell MitchellBxC03f08

SEE ALSO:

Brahms, Johannes, 1833-1897. Concerto de violon en ré, op. 77. MitchellBxC03f07

Ysaÿe, Eugène, 1858-1931. Cadence pour le concerto de violon de J. Brahms. MitchellBxC21f08

COMPOSER:

Bruch, Max, 1838-1920.

TITLE:

Concerto in G minor, op. 26.

IMPRINT:

Paris : Durand et Fils, [18--?]

NOTES:

Solo violin part, in fragile condition with torn and trimmed pages repaired with adhesive tape. Inscription in ink on caption in Mitchell’s hand: Viola B. Mitchell. Stamp impression in ink on caption: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Many markings in pencil, red crayon, and blue crayon, probably in Ysaÿe’s hand. However, some fingerings in pencil in the first movement may be in another hand.

BOX:

MitchellBxC03f09

COMPOSER:

Bruch, Max, 1838-1920.

TITLE:

Schottische Fantasie, op. 46.

IMPRINT:

Berlin : Simrock, [188-?]

NOTES:

Arranged for violin and piano. Score and part. Inscription on score cover and caption of part, probably in Mitchell’s hand: Viola B. Mitchell. The score also has markings in pencil, possibly in Ysaÿe’s hand. On the last page, there are comments from a lesson that took place on May 12, [19--], probably not in Ysaÿe’s hand. Inscription in ink on caption of part in blue pencil: EY. The part has many markings and annotations in pencil and blue crayon, probably in Ysaÿe’s hand.

BOX:

MitchellBxC03f10

COMPOSER:

Bruch, Max, 1838-1920.

TITLE:

Zweites Concert für die Violine mit Begleitung des Orchesters, op. 44.

IMPRINT:

Berlin : Simrock, 1878.

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on cover, probably in Mitchell’s hand: Viola B. Mitchell, Brussels, 1927. Inscription in ink on caption of part, probably in Mitchell’s hand: Viola B. Mitchell. Inscription in ink on caption in blue pencil: Doigtés d’Eugène Ysaÿe [Fingerings by Eugène Ysaÿe]. The score is worn and taped. The part is marked and annotated throughout in blue crayon, red crayon, and pencil. The crayon is probably in Ysaÿe’s hand. The pencil may be in Mitchell’s hand There is also an alteration in musical notation on pages 5 and 7. The score has markings in pencil and purple crayon, probably in another hand.

BOX:

MitchellBxC03f11

COMPOSER:

Chabrier, Emmanuel, 1841-1894.

TITLE:

Scherzo-Valse / arranged for violin and piano by Charles Martin Lœffler and dedicated to Eugène Ysaÿe.

IMPRINT:

Boston : G. Schirmer, 1909.

NOTES:

Violin part. Stamp impression in ink on preliminary page: Viola B. Mitchell, 347 Bank St., Sewickley, PA. There are many markings in blue crayon, in the hand of Ysaÿe.

BOX:

MitchellBxC03f12

SEE ALSO:

Chabrier, Emmanuel, 1841-1894. Scherzo-Valse. MitchellBxC16f11

COMPOSER:

Corelli, Arcangelo, 1653-1713.

TITLE:

Sonata in A Major, op. 5, No. 6 / transcribed with free accompaniment to the original figured bass by Albert Spalding.

IMPRINT:

New York : Carl Fischer, Inc., 1930.

NOTES:

For violin and piano. Score and part. Some of the pages of the score are torn near the spine. Inscription in ink on cover, probably in Mitchell’s hand: Viola B. Mitchell,The Hague, 1930. Signed inscription by Albert Spalding on title page of score: There was a young lady named Viola, the antithesis of a Pianola! Whatever she played was instantly made as popular as Coca-Cola! In Bocca al Lupo and all that sort of stuff, from Albert Spalding. Inscription in ink on title page of part: Viola B. Mitchell; the number 296 is inscribed in pencil to the left. The part is worn and the cover is taped and separated. There are markings in pencil and red crayon, some which may possibly be in Ysaÿe’s hand. The score has a few markings in pencil, probably in an unknown hand, although the markings in the fifth movement may possibly be in Ysaÿe’s hand.

BOX:

MitchellBxC03f13

COMPOSER:

Elgar, Edward, 1857-1934.

TITLE:

Concerto for violin and orchestra, op. 61.

IMPRINT:

London : Novello & Co., 1910.

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on score cover and title page of part: Viola B. Mitchell, Bruxelles, 1928. Inscription in ink on title page of part in blue crayon, in Ysaÿe’s hand: Doigtés d’Eugène Ysaÿe [Fingerings by Eugène Ysaÿe]. The part is marked extremely extensively (with a few suggested minor alterations) in tremendous detail, in blue crayon, in Ysaÿe’s hand. One very interesting annotation is a musical notation in the second movement which suggests the  enharmonic/psychological alternative to a solo entrance in the second theme. This concerto was one of Ysaÿe’s great successes in the later part of his concert career.

BOX:

MitchellBxC03f14

SEE ALSO:

MitchellBxC04

Bach, Johann Sebastian, 1686-1750. Sonatas for pianoforte and violin nos. 1-3, BWV 1014-16. MitchellBxC09f03

Bartók, Béla, 1881-1945. Rumanian folk dances. MitchellBxC09f11

Beethoven, Ludwig van, 1770-1827. Romance in F, op. 50. MitchellBxC10f04

Boulanger, Lili, 1893-1918. Cortège [score marked 1928]. MitchellBxC12f12

Brahms, Johannes, 1833-1897. Violin sonata in G major, op. 78. MitchellBxC13f11

Brahms, Johannes, 1833-1897. Violin Sonata in A major, op. 100 [Augener edition]. MitchellBxC14f02

Chabrier, Emmanuel, 1841-1894. Scherzo-Valse. MitchellBxC16f11

Debussy, Claude, 1862-1918. Menuet. MitchellBxC14f12

Debussy, Claude, 1862-1918. Violin sonata. MitchellBxC14f18

Debussy, Claude, 1862-1918. String quartet, op. 10. MitchellBxC14f19

Franck, César, 1822-1890. Sonata for violin and piano [violin part]. MitchellBxC15f08

Grieg, Edvard, 1843-1907. Violin sonata no. 1 in F major. MitchellBxC15f12

Haydn, Joseph, 1732-1809 Piano trio no. 2 in G major. MitchellBxC15f15

Kreisler, Fritz, 1875-1962. Concerto in C major. MitchellBxC21f02

Lalo, Edouard, 1823-1892 Concerto russe. MitchellBxC16f07

Mendelssohn-Bartholdy, Felix, 1809-1847. On wings of song, op. 34, No. 2. MitchellBxC16f13

Mozart, Wolfgang Amadeus, 1756-1791. Violin concerto no. 7, K. 271a. MitchellBxC11f03

Mozart, Wolfgang Amadeus, 1756-1791. Violin sonatas. MitchellBxC17f04

Pierné, Gabriel, 1863-1937. Sonata for violin and piano [violin part]. MitchellBxC18f08

Prokofiev, Sergey, 1891-1953. Violin concerto in D major, op. 19. MitchellBxC18f09

Ravel, Maurice, 1875-1937. Violin sonata. MitchellBxC18f13

Sarasate, Pablo de, 1844-1908. Introduction and tarantella, op. 43. MitchellBxC11f02

Sarasate, Pablo de, 1844-1908. Spanish dances, op. 21. MitchellBxC19f04

Sarasate, Pablo de, 1844-1908. Spanish dances, op. 26. MitchellBxC19f05

Tchaikovsky, Peter Ilich, 1840-1893. Violin concerto in D major, op. 35. MitchellBxC20f14

Wieniawski, Henri, 1835-1880. Scherzo-Tarantella, op. 16 [violin part]. MitchellBxC21f0

COMPOSER:

Franck, César, 1822-1890.

TITLE:

Sonate A dur für Violin und Klavier.

IMPRINT:

Leipzig : C.F. Peters, [1920?]

NOTES:

For violin and piano. Score and part. The score has a plain paper cover taped over the original cover, and is in fragile condition. Inscription in ink on cover, probably in Mitchell’s hand: Viola Mitchell. Upside down stamp impression in ink on cover: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription on cover: Dedicated to Eugène Ysaÿe performance in Ysaÿe home In Brussels, my first composition I played for the master. Inscription in middle of cover in blue crayon: Franck. Markings in pencil on score, not in Ysaÿe’s hand. Inscription in pencil on caption of part: Margaret Horne. Markings on part in pencil, probably in Ysaÿe’s hand.

BOX:

MitchellBxC04f01

SEE ALSO:

Franck, César, 1822-1890. Sonata for violin and piano [violin part]. MitchellBxC04f02

Franck, César, 1822-1890. Sonata for violin and piano [violin part]. MitchellBxC15f08

COMPOSER:

Franck, César, 1822-1890.

TITLE:

Sonata for violin and piano.

IMPRINT:

New York : Carl Fischer, 1915.

NOTES:

Violin part. Pages are bound with adhesive tape. Inscriptions on preliminary page, possibly in Mitchell’s hand: Viola Mitchell, and Sonate de Franck. Stamp impression in ink on preliminary page: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription on In the upper left corner of preliminary page: E.Y. The part has many markings in pencil (including metronome markings), blue crayon, and red crayon. The crayon markings are probably in Ysaÿe’s hand, while many of the pencil may be in Mitchell’s hand. There are markings in possibly yet another hand, for example, in the annotations in the third movement. This part was paired with the contents of MitchellBxC04f01.

BOX:

MitchellBxC04f02

SEE ALSO:

Franck, César, 1822-1890. Sonata for violin and piano. MitchellBxC04f01

Franck, César, 1822-1890. Sonata for violin and piano [violin part]. MitchellBxC15f08

COMPOSER:

Glazunov, Aleksandr Konstantinovich, 1865-1936.

TITLE:

Concerto for violin and piano, op. 82.

IMPRINT:

New York : Carl Fischer, 1920.

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on cover: Viola Mitchell, Brussels, 1928; Inscription in ink on caption of part: Viola B. Mitchell, Brussels, 1928. Both inscriptions are probably in her hand, but they are somewhat different from many of the other examples. The violin part has several markings in pencil and blue crayon. Some of these markings are probably in Ysaÿe’s hand, but many (including those in blue crayon) are possibly not. The score has markings in pencil and a marking in blue crayon (pg. 17), probably not in Ysaÿe’s hand, until the cadenza.

BOX:

MitchellBxC04f03

COMPOSER:

Guiraud, Ernest, 1837-1892.

TITLE:

Caprice pour violon avec accompagnement d’orchestre ou de piano.

IMPRINT:

Paris : Durand & Fils, [1885?]

NOTES:

For violin and piano. Score and part. Inscription on score cover and caption of part, probably in Mitchell’s hand: Viola B. Mitchell (signature on cover in smeared and blotted ink). Stamp impression in ink on cover: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription in ink on caption of part in blue crayon: Les doightees d’E. Y. [Fingerings [and bowings] by Eugène Ysaÿe]. There are numerous markings and annotations in blue crayon, red crayon, and pencil, in Ysaÿe’s hand. One interesting and revealing annotation is on the second page: levez bien les doights. et laissez l’archet aller où il veut. [lift the fingers and let the bow go where it wants to go]. The score has markings in pencil, many probably in Ysaÿe’s hand, but some probably not.

BOX:

MitchellBxC04f04        

COMPOSER:

Lalo, Edouard, 1823-1892.

TITLE:

Concerto pour violon, op. 20.

IMPRINT:

Paris : Durand & Fils, 1912.

NOTES:

Arranged for violin and piano. Score and part. Score and part bound with cloth tape. Inscription in ink on cover, probably in Mitchell’s hand: Viola Blanche Mitchell, Le Zoute s/mer, 1927. Inscription in ink on caption of part, probably in Mitchell’s hand: Viola B. Mitchell, Le Zoute s/mer, 1927. Inscription in ink on caption of part in red crayon: EY [Eugène Ysaÿe]. Part is marked throughout in red crayon, blue crayon, and pencil, in Ysaÿe’s hand. The fifth page is slightly torn. An interesting annotation is on the second page: Amusez vous et amusez moi [Have fun and humor me]. There is also added musical notation on the third, eighth, and fifteenth page. The score has several markings in pencil and red crayon; most are probably in Ysaÿe’s hand, but some are probably not. A section marked as a cut (pages 11 to 16) is folded at the bottom corner and held together at the top by a clip. This concerto, rarely played nowadays, was one of Ysaÿe’s warhorses.

BOX:

MitchellBxC04f05

COMPOSER:

Lalo, Edouard, 1823-1892.

TITLE:

Symphonie espagnole pour violon et orchestre, op. 21.

IMPRINT:

Paris : Durand & Fils, 1908.

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on cover, probably in Mitchell’s hand: Viola Blanche Mitchell. Inscription in ink on caption of part, probably in Mitchell’s hand: Viola B. Mitchell. The bindings of the score and part were repaired with adhesive tape, but are damaged. There are markings in pencil and blue crayon, many of which are probably in Ysaÿe’s hand, particularly the markings in blue crayon. Specifically, many of the bowings and slurs in pencil, especially in the first two movements, may be in another hand. The third movement, Intermezzo, is unmarked (save for a single blue mark on the first page), suggesting the tradition of the time of leaving out this movement. The fifth movement, Rondo, has some musical notation in pencil. The score has pencil markings in the first movement.

BOX:

MitchellBxC04f06

COMPOSER:

Lekeu, Guillaume, 1870-1894.

TITLE:

Sonate en sol pour piano et violon.

IMPRINT:

Paris: Rouart, Lerolle & Cie., 1894.

NOTES:

For violin and piano. Score and part. Inscription in ink on cover, probably in Mitchell’s hand: Viola B. Mitchell, Bruxelles, 1927. Inscription in ink on caption of part, in ink: Viola Mitchell. Partly legible inscription in faded red crayon on caption of part : E.Y. Quelle merveille pl[?] vie et m[?] [Eugène Ysaÿe. What a marvel…] There are markings on the part in blue crayon, red crayon, and pencil, probably in Ysaÿe’s hand. The score has a few markings in pencil in the first movement, probably not in Ysaÿe’s hand.

BOX:

MitchellBxC04f07        

COMPOSER:

Mendelssohn-Bartholdy, Felix, 1809-1847.

TITLE:

Violin concerto, op. 64 / edited by Henry Schradieck.

IMPRINT:

New York : Schirmer, 1923.

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on cover of score, probably in Mitchell’s hand: Viola B. Mitchell, Pittsburgh, Penna 1924. Both the score and part are worn and taped at the spine. Inscription in ink on caption of part in red crayon: Doightees d’Eugène Ysaÿe [Fingerings by Eugène Ysaÿe]. There are numerous markings in red crayon, blue crayon, and pencil. The markings in crayon are probably in the hand of Ysaÿe, but some of the markings in pencil may not be. The score also has many markings mostly in pencil, with some in blue crayon. Some of the markings (both pencil and crayon) are probably in Ysaÿe’s hand, but some of the markings are probably in another hand.

BOX:

MitchellBxC04f08

SEE ALSO:

Mendelssohn-Bartholdy, Felix, 1809-1847. Violin concerto [score]. MitchellBxC16f15

COMPOSER:

Enesco, Georges, 1881-1955.

TITLE:

Cadences pour le 7eme concerto de Mozart.

IMPRINT:

[Brussels?] : Viola Mitchell, [192-?]

NOTES:

Manuscript part in the hand of Viola Mitchell. For violin. Stamp impression in left margin of 1^st page: Viola B. Mitchell, 347 Bank St., Sewickley, PA. The score is marked and revised in red crayon and pencil, probably in Ysaÿe’s hand. There is a eight measure segment probably intended for the second movement (which is in G major), in pencil, possibly in Ysaÿe’s hand.

BOX:

15 M877c K.271a En27 MitchellBxC04f09

SEE ALSO:

Mozart, Wolfgang Amadeus, 1756-1791. Konzert Nr. 7 / edited by Hans Sitt. MitchellBxC11f03

COMPOSER:

Mozart, Wolfgang Amadeus, 1756-1791.

TITLE:

Drittes Violin Konzert für Violine und Pianoforte [K. 216, G major] / edited with cadenzas by Henri Marteau.

IMPRINT:

Leipzig : C. F. Peters, 1908.

NOTES:

Arranged for violin and piano. Score and part. Stamp impression in ink on title page of score and caption of part: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription in ink on caption of part, probably in Mitchell’s hand: Viola B. Mitchell, Bruxelles, 1927. There are extensive markings in pencil, red crayon, and blue crayon, including musical notation. The markings in red crayon, and some of those in pencil, appear to be in Ysaÿe’s hand. However, the blue crayon (except for maybe in the third movement) appears to be in another hand. The markings are notable for their suggestions of often rather free ornamentation. The score has markings in pencil, blue crayon, and red crayon. Most of the markings are not in Ysaÿe’s hand, but a few of the markings may be (e.g. the pp on page 16, cut in red crayon on page 18).

BOX:

MitchellBxC04f10

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Cadences pour violon par Eugène Ysaÿe : Mozart Violin concerto No. 3 in G major, K. 216.

IMPRINT:

Brussels : Viola Mitchell, 1927.

NOTES:

Two manuscripts in the hand of Viola Mitchell of Ysaÿe’s cadenza to Mozart’s Violin concerto no. 3. One manuscript is noticeably worn and has markings in pencil, blue crayon, red crayon, and red ink, probably in Ysaÿe’s hand; the cadenza is signed at the end: Viola Blanche Mitchell, Bruxelles, May 20 1927. Following the end of the cadenza are sketches in pencil and blue crayon, probably by Ysaÿe; on the reverse side of the last page of the manuscript, flipped horizontally, is a sketch in purple crayon and blue crayon, also probably by Ysaÿe. This segment is probably an ornamented version of the opening of the second movement. The other manuscript is a cleaner copy, probably in Mitchell’s hand, which includes a Stamp impression in ink on the last page: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Also included in this folder is a small leaf of paper with brief text notes about the contents of MitchellBxC04, folders 10 and 11, which were originally housed together.

BOX:

15 M877c K.216 Y89 MitchellBxC04f11

COMPOSER:

Nardini, Pietro, 1722-1793.

TITLE:

Konzert für Violine zur Konzertvortrage / eingerichtet von M. Hauser ; new edition revised by Gustav Havemann.

IMPRINT:

Leipzig: F.E.C. Leuckart, [192-?]

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on cover of score and caption of part, probably in Viola Mitchell’s hand: Viola Blanche Mitchell, Brussels, 1928. The violin part has numerous markings in blue crayon and some marking sin pencil. The markings in blue crayon are probably in Ysaÿe’s hand. Some of the markings in pencil may not be. There is an extended note on the third page: La première fois qu’on joue la thème, jouez la, dans la première pos. mais pour la reprise, moulez sur la corde de ré. Exposez bien la thème[?] la première fois qu’on la joue [Play the theme in first position for the first time around. But for the reprise, shape it on the D string. Be sure to expose the theme the first time you present it.] Underneath, there is an indication in blue crayon avec sourdine, probably to suggest playing this entire movement with a mute.

BOX:

MitchellBxC04f12

COMPOSER:

Mozart, Wolfgang Amadeus, 1756-1791.

TITLE:

Violin Konzert No. 6 / edited by Henri Marteau.

IMPRINT:

Leipzig : Edition Peters, 1910.

NOTES:

Arranged for violin and piano. Score and part. Inscription on cover: Viola B. Mitchell, Bruxelles. Inscriptions on caption of the violin part: Viola Mitchell, Brussels, 1926, and, doigtées E.Y. [fingerings by Eugène Ysaÿe]. The violin part is annotated in pencil, blue crayon, and red crayon. There are several notated examples elaborating on the text. The markings are probably in Mitchell’s hand, taken from Ysaÿe’s part.

BOX:

MitchellBxC04f13

SEE ALSO:

MitchellBxC03

Bach, Johann Sebastian, 1686-1750. Sonatas for pianoforte and violin nos. 1-3, BWV 1014-16. MitchellBxC09f03

Bartók, Béla, 1881-1945. Rumanian folk dances. MitchellBxC09f11

Beethoven, Ludwig van, 1770-1827. Romance in F, op. 50. MitchellBxC10f04

Boulanger, Lili, 1893-1918. Cortège [score marked 1928]. MitchellBxC12f12

Brahms, Johannes, 1833-1897. Violin sonata in G major, op. 78. MitchellBxC13f11

Brahms, Johannes, 1833-1897. Violin Sonata in A major, op. 100 [Augener edition]. MitchellBxC14f02

Chabrier, Emmanuel, 1841-1894. Scherzo-Valse. MitchellBxC16f11

Debussy, Claude, 1862-1918. Menuet. MitchellBxC14f12

Debussy, Claude, 1862-1918. Violin sonata. MitchellBxC14f18

Debussy, Claude, 1862-1918. String quartet, op. 10. MitchellBxC14f19

Franck, César, 1822-1890. Sonata for violin and piano [violin part]. MitchellBxC15f08

Grieg, Edvard, 1843-1907. Violin sonata no. 1 in F major. MitchellBxC15f12

Haydn, Joseph, 1732-1809 Piano trio no. 2 in G major. MitchellBxC15f15

Kreisler, Fritz, 1875-1962. Concerto in C major. MitchellBxC21f02

Lalo, Edouard, 1823-1892 Concerto russe. MitchellBxC16f07

Mendelssohn-Bartholdy, Felix, 1809-1847. On wings of song, op. 34, No. 2. MitchellBxC16f13

Mozart, Wolfgang Amadeus, 1756-1791. Violin concerto no. 7, K. 271a. MitchellBxC11f03

Mozart, Wolfgang Amadeus, 1756-1791. Violin sonatas. MitchellBxC17f04

Pierné, Gabriel, 1863-1937. Sonata for violin and piano [violin part]. MitchellBxC18f08

Prokofiev, Sergey, 1891-1953. Violin concerto in D major, op. 19. MitchellBxC18f09

Ravel, Maurice, 1875-1937. Violin sonata. MitchellBxC18f13

Sarasate, Pablo de, 1844-1908. Introduction and tarantella, op. 43. MitchellBxC11f02

Sarasate, Pablo de, 1844-1908. Spanish dances, op. 21. MitchellBxC19f04

Sarasate, Pablo de, 1844-1908. Spanish dances, op. 26. MitchellBxC19f05

Tchaikovsky, Peter Ilich, 1840-1893. Violin concerto in D major, op. 35. MitchellBxC20f14

Wieniawski, Henri, 1835-1880. Scherzo-Tarantella, op. 16 [violin part]. MitchellBxC21f0

COMPOSER:

Paganini, Nicolò, 1782-1840.

TITLE:

Concerto no. 1 for violin and piano / revised and rearranged by August Wilhemj ; foreword by Gustav Saenger.

IMPRINT:

New York : Carl Fischer, 1910.

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on cover, probably in Mitchell’s hand, but in a noticeably different style from that found on her other scores: Viola B. Mitchell, Pqh. Perma. The bottom left of the cover is torn and missing. Note that this is the Wilhemj arrangement/edition and only contains the first movement of the concerto. The violin part has markings in blue crayon and pencil. The markings in blue crayon are probably in Ysaÿe’s hand, as well as maybe some of the markings in pencil (though many may not be). Some of the markings revise the part (toward a version we are more familiar with). Notable is his suggestion found during the passage in thirds: chantez lentement [sing slowly]. The score has markings in pencil, not in Ysaÿe’s hand.

BOX:

MitchellBxC05f01

COMPOSER:

Paganini, Nicolò, 1782-1840.

TITLE:

24 Capricen für Violine, op. 1 / edited by Ferdinand David.

IMPRINT:

Leipzig : Breitkopf & Härtel, [18--]

NOTES:

For violin. Score is worn and split at the spine. There are a few markings in blue crayon, red crayon, and pencil, all probably in Ysaÿe’s hand, for the following caprices: no. 1 (signed E.Y.); no. 6 (a pair of parentheses); no. 9; no. 13 (signed E.Y.); no. 14 (signed E.Y.); no. 15 (signed E.Y.); no. 17; no. 20 (with musical notation which may not be in Ysaÿe’s hand). With the exception of Caprice no. 20, those caprices which bear his initials have more markings than those that do not.

BOX:

MitchellBxC05f02

COMPOSER:

Saint-Saëns, Camille, 1835-1921.

TITLE:

Concerto pour violon, op. 20 / revised by Hugo Heerman.

IMPRINT:

Paris: J. Hamelle, [19--]

NOTES:

Arranged for violin and piano. Score and part bound in cardboard covers subsequent to publication, with typescript cover titles. The score has markings in pencil, several possibly in Ysaÿe’s hand. The part has pages repaired with adhesive tape and extensively marked in blue crayon, red crayon, and pencil, probably in Ysaÿe’s hand.

BOX:

MitchellBxC05f03

COMPOSER:

Saint-Saëns, Camille, 1835-1921.

TITLE:

Havanaise, op. 83.

IMPRINT:

Paris : A. Durand & Fils, [1888?]

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on cover of score: Viola B. Mitchell. Inscription in ink on preliminary page of part: Viola Mitchell, Brussels. Both inscriptions probably in Mitchell’s hand. The violin part is cut down in size (after Ysaÿe had written in markings, note how the annotation in the margin of page 6 is cut off). The part has numerous markings in two types of blue crayon (one type of blue crayon is slightly rougher and darker: e.g. at the beginning of page 4) and pencil, with an inscription on the caption, probably in Mitchell’s hand: Doigtees d’Eugène Ysaÿe [Fingerings by Eugène Ysaÿe]. The blue crayon markings are most probably in Ysaÿe’s hand. The pencil markings may be in Mitchell’s hand. Note how some of the markings are revisions of previous markings (especially where the darker blue crayon is a revision over the lighter blue crayon). On the last page is a manuscript sketch, probably in Ysaÿe’s hand. This manuscript is possibly a sketch/outline for an alternate version of the passage leading into the final coda (i.e. page 7, line 3 to line 5).

BOX:

MitchellBxC05f04

COMPOSER:

Saint-Saëns, Camille, 1835-1921.

TITLE:

3^e Concerto pour Violon et Orchestre, op. 61.

IMPRINT:

Paris : A. Durand & Fils, [1880?]

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on title page of score: Viola Mitchell 1927 Bruxelles. Inscription in ink on caption of part: Viola B. Mitchell, Bruxelles, 1927. Both inscriptions probably in Mitchell’s hand, though the signature on the title page of the score is somewhat dissimilar to her other signatures. Inscription in ink on caption of part, probably in Mitchell’s hand: Doightées d’E.Y. [Fingerings by Eugène Ysaÿe]. There are numerous markings in pencil and red crayon, probably in Ysaÿe’s hand, though some of the lighter markings and annotations in pencil may possibly be in a different hand. A leaf of music manuscript, probably in Mitchell’s hand, is clipped on to page 8 of the part, detailing the passage in harmonics. Note, however, the remark une octave plus bas [one octave lower] on this manuscript, which signifies that the first measure of this passage as it is written out here produces pitches that are one octave too high. On page 10 in the upper margin is manuscript music notation in purple crayon, probably in Ysaÿe’s hand. This passage is probably an alternate for the first measure of the fourth line of this page. The idea presented in the notation is reflected also in the score. The score has markings in pencil and black pen, some are possibly in Ysaÿe’s hand though many are probably in Mitchell’s hand.

BOX:

MitchellBxC05f05

SEE ALSO:

Saint-Saëns, Camille, 1835-1921. 3ème concerto pour violon et orchestre, op. 61. MitchellBxC19f01

COMPOSER:

Spohr, Louis, 1784-1859.

TITLE:

Violin-Konzerte no. 9, op. 55 / edited by Ferdinand David and Friedrich Hermann.

IMPRINT:

Leipzig : C. F. Peters, [19--]

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on cover of score: Viola B. Mitchell, Le Zoute s/Mer, 1927. Inscriptions on caption of violin part: Viola B. Mitchell, Le Zoute sur Mer, 1927, and, Doigtées d’Ysaÿe [Fingerings by Ysaÿe]. Inscriptions probably in Viola Mitchell’s hand. The violin part has numerous markings in blue crayon, red crayon, and pencil, in Ysaÿe’s hand. The score has markings in pencil, many probably in Ysaÿe’s hand though some are probably in Mitchell’s hand (e.g. more staccato on page 23).

BOX:

MitchellBxC05f06

COMPOSER:

Wieniawski, Henri, 1835-1880.

TITLE:

Second concerto in D minor for violin and piano, op. 22 / edited by Leopold Lichtenberg.

IMPRINT:

New York : G. Schirmer, 1909.

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on cover, probably in Mitchell’s hand: Viola B. Mitchell, Feb. 10, 1923. Inscription in ink on title page of score, probably in Mitchell’s hand: Viola B. Mitchell. Inscriptions on title page of part, probably in Mitchell’s hand: Viola Mitchell, 1923, ’24, and Viola B. Mitchell. Manuscript music notation on the title page of part in black ink with the comment: en octaves jusqu’à ré [in octaves until the D]; probably an alternate passage for the passage in octaves in the first movement (page 3 in the violin part, third line from the bottom). Inscription on upper right corner of title page of the part, probably in Ysaÿe’s hand: E.Y. The violin part is marked extensively in red crayon, blue crayon, and pencil, most probably in Ysaÿe’s hand. The score has markings in pencil, with many of the markings. Those especially with a darker imprint may possibly be in Ysaÿe’s hand.

BOX:

MitchellBxC05f07

COMPOSER:

Wieniawski, Henri, 1835-1880.

TITLE:

Polonaise de concert, op. 4 / edited by Henri Marteau.

IMPRINT:

Leipzig : C.F. Peters, [19--]

NOTES:

Arranged for violin and piano. Score and part. Inscription on score cover and caption of violin part in black ink: Viola B. Mitchell, Brussels, 1927; inscription on capton of violin part in pencil: Doigtees d’Eugène Ysaÿe [Fingerings by Eugène Ysaÿe]; inscriptions probably in Mitchell’s hand. The violin part is extensively marked in blue crayon, pencil, and one instance of red crayon, including several alternate passages written out in the margins and the back of the last page. All the markings and notated passages are probably in Ysaÿe’s hand. Notable are the many small revisions Ysaÿe makes to the text. The score has several markings in pencil. Most of the markings are probably not in Ysaÿe’s hand.

BOX:

MitchellBxC05f08

COMPOSER:

Wieniawski, Henri, 1835-1880.

TITLE:

Deuxième polonaise brillante pour violon, op. 21 / edited by Henri Marteau.

IMPRINT:

Leipzig : C.F. Peters, [19--]

NOTES:

Arranged for violin and piano. Score and part. Inscription on score cover and title page of violin part, probably in Mitchell’s hand: Viola B. Mitchell, Brussels 1928. Inscription in ink on title page of part, probably in Ysaÿe’s hand: Doigtées d’E.Y. [Fingerings by Eugène] Ysaÿe]. The violin part is extensively marked in blue crayon, probably in Ysaÿe’s hand. Notable are the small revisions Ysaÿe makes to the text, including a slightly revised passage at the top of the last page with the annotation Wieniawski, perhaps to mean that that is what he had heard Wieniawski (who was one of Ysaÿe’s teachers) do. The score has one marking in pencil on page 13, to correct a misprint.

BOX:

MitchellBxC05f09

COMPOSER:

Vieuxtemps, Henri, 1820-1881.

TITLE:

Concerto no. 1 in E major for violin and piano, op. 10 / edited by Theodore Spiering.

IMPRINT:

New York : Carl Fischer, [19--]

NOTES:

Arranged for violin and piano. Score and part. Inscription in ink on title page of score, probably in Mitchell’shand: Viola Mitchell; Inscription in ink on title page of violin part, probably in Mitchell’s hand: Viola Mitchell, May 3, 1924. Inscription in red crayon on page 4 of the violin part in the upper left corner: EY [Eugène Ysaÿe], probably to indicate that the fingerings and bowings are by Ysaÿe. The violin part is marked extensively in red crayon, green crayon, blue crayon, and pencil. There are also notated examples on pages 6 and 19. The markings are in Ysaÿe’s hand, with several comments in the margins, one of which is signed with his initials on page 6: N.B. Les gammes en staccati se font tirer ou poussé ou alternativement E.Y. [The staccato scales are done either down, up, or in alternation. Eugène Ysaÿe]. There is an interesting biographical remark as well at the end (with the order of the sentence placed backwards probably because of constricted space): Ecrit par Vieuxtemps à l’âge de 20 ans, Et joué au Conservatoire de Paris avec une succéss fou [Written by Vieuxtemps at 20 years of age, and performed at the Paris Conservatory with insane success.] The score has markings in pencil, with some notes on the back of the last page, probably not in Ysaÿe’s hand.

BOX:

MitchellBxC05f10

COMPOSER:

Ysaÿe, Eugène, 1858-1931.

TITLE:

Cadence pour le Concerto en la mineur (no. 22), Viotti.

IMPRINT:

[Brussels?] : Viola Mitchell, 1926.

NOTES:

Manuscript in Viola Mitchell’s hand in black ink and blue ink. For violin. At end: Viola Mitchell, Septembre, 1926. Originally housed with Vieuxtemps, Violin concerto no. 1, op. 10 (MitchellBxC04f10).

BOX:

15 V814c no.22 Ys89 MitchellBxC05f11

SEE ALSO:

Viotti, Giovanni Battista, 1755-1824. Concerto no. 22. MitchellBxC05f17

COMPOSER:

Vieuxtemps, Henri, 1820-1881.

TITLE:

3me Concerto pour Violon et Piano, op. 25 / revised and annotated by A. Quesnot.

IMPRINT:

Paris : Editions Maurice Senart & Cie., 1920.

NOTES:

Arranged for violin and piano. Score and part. Inscription on score cover and caption of violin part, probably in Viola Mitchell’s hand: Viola B. Mitchell, Brussels, 1928. Inscription in ink on caption of part in red crayon by Ysaÿe: E.Y. 1928. The part has numerous markings in blue crayon, red crayon, and crimson ink. the second movement is free of markings, and there is one marking in the third movement.

BOX:

MitchellBxC05f12

COMPOSER:

Vieuxtemps, Henri, 1820-1881.

TITLE:

Violin-Konzert No. 2, Fis moll, op. 25 / edited by E. Fernandez Arbos.

IMPRINT:

Leipzig : C. F. Peters, [19--]

NOTES:

Arranged for violin and piano. Score and part. Inscription on score cover, probably in Mitchell’s hand: Viola Blanche Mitchell, Bruxelles, 1927. Inscription in ink on title page of part: Viola Blanche Mitchell, Bruxelles, 1927, Oct. The violin part has markings in pencil and blue crayon, many of which are probably in Ysaÿe’s hand. Some of the markings in pencil, especially on page 3 (printed) are not in Ysaÿe’s hand, and may possibly be in Mitchell’s hand. The score has markings in pencil, which are probably not in Ysaÿe’s hand.

BOX:

MitchellBxC05f13

COMPOSER:

Vieuxtemps, Henri, 1820-1881.

TITLE:

Grand Concerto pour le violon, op. 31. (score)

IMPRINT:

Offenbach am Main: Jean André, [18--?]

TITLE:

Viertes Konzert, d-moll, op. 31. (violin part) / edited by Leopold Auer.

IMPRINT:

Mainz : B. Schott’s Sohne/Augener Limited, 1911.

NOTES:

Arranged for violin and piano. The score and part are from different editions. Both are in fragile condition, trimmed, torn and taped, and taped at the spine. Inscription in ink on title page of part, probably in Mitchell’s hand: Viola B. Mitchell, Bruxelles, 1928. Stamp impression in ink on title page of part (Gingold) suggests that the music may have come from Josef Gingold, or at least passed through his hands. Inscription in blue crayon on caption of violin part was probably E.Y. [Eugène Ysaÿe] before page was trimmed and the letter E lost, indicating that the markings are his. The part has numerous markings in blue crayon, red crayon, and pencil, an annotation in blue ink, and a small bit of musical notation in pencil on page 17 (printed). The markings are probably in Ysaÿe’s hand, though it is somewhat curious that the downbow markings are not in the French style (i.e. upside down). There are markings in pencil in the second movement of the score, probably not in Ysaÿe’s hand. There is also a leaf of music manuscript (not in Ysaÿe’s hand) attached to page 14 of the score, apparently as a paste-over. There is also a marking in pencil near the beginning of the third movement and a marking in pencil on the second page of the fourth movement.

BOX:

MitchellBxC05f14

COMPOSER:

Vieuxtemps, Henri, 1820-1881.

TITLE:

Fantasia appassionata, op. 35.

IMPRINT:

New York : Carl Fischer, 1901.

NOTES:

For violin and piano. Score and part. Inscription in ink on score cover, probably in Mitchell’s hand: Viola B. Mitchell. Inscription in pencil on score cover: Mrs. Mitchell. Inscription in ink on title page of part, probably in Mitchell’s hand: Viola Blanche Mitchell, Bruxelles, 1928. Manuscript music in black ink inscribed on title page verso of part, an alternate passage to that printed page 6 at rehearsal letter G, possibly in Ysaÿe’s hand. Inscription in ink on caption of violin part in blue crayon: doigtées E.Y. [fingerings by Eugène Ysaÿe]. There are numerous markings in blue crayon, pencil, and black ink, including an initialed comment in blue crayon on page 8: quand on joue cette Fantaisie avec orchestra on commence à lettre I, avec piano on joue tout le Largo [when one plays this Fantasie with orchestra, start at letter I, with piano, play the whole Largo]. All markings are probably in Ysaÿe’s hand. The score has several markings in pencil for the pianist, not in Ysaÿe’s hand.

BOX:

MitchellBxC05f15

COMPOSER:

Vieuxtemps, Henri, 1820-1881.

TITLE:

Morceaux de salon, op. 32. No. 2, Rondino

IMPRINT:

Paris: G. Brandus Dufour et Cie., [18--?]

NOTES:

For violin and piano. Score and part. Inscription on preliminary page of score, probably in Mitchell’s hand: Viola Mitchell. Inscription on preliminary page of part:, probably in Mitchell’s hand: Rondino de Vieuxtemps, Viola Mitchell. The violin part has numerous markings in blue crayon and pencil, with manuscript music notated on page 4 and 5. All markings probably in Ysaÿe’s hand. The score is bound incorrectly with the first and last pages swapped.

BOX:

MitchellBxC05f16

COMPOSER:

Viotti, Giovanni Battista, 1755-1824.

TITLE:

Concerto No. 22 / edited by Emil Sauret.

IMPRINT:

Mainz : B. Schott’s Söhne, 1917.

NOTES:

Arranged for violin and piano. Score and part. Inscription on score cover and first page of violin part, probably in Mitchell’s hand: Viola Mitchell. The part has numerous markings and musical notations in pencil and blue crayon. The tempo indication for the last movement on page 11 is inscribed in black ink. Blue crayon markings are probably in Ysaÿe’s hand, while most of the markings in pencil are probably in Mitchell’s hand. However, many of the pencil markings in the last movement may possibly be in Ysaÿe’s hand.

BOX:

MitchellBxC05f17

SEE ALSO:

Ysaÿe, Eugène, 1858-1931. Cadence pour le Concerto en La mineur (no. 22) Viotti. MitchellBxC05f11

Series III: Literary items, manuscript items not directly related to Eugène Ysaÿe, and manuscripts and scores by other composers inscribed to Viola Mitchell

AUTHOR:

Ysaÿe, Antoine.

TITLE:

Fondation Eugène Ysaÿe.

IMPRINT:

Bruxelles : Fondation Eugène Ysaÿe, 1963.

NOTES:

A typescript (photocopy) document in French describing the Fondation Eugène Ysaÿe, a non-profit organization which is evidently no longer active. Includes names of the members as of May 1963, the address of the organization, a mission statement with statutes, and a list of accomplishments up to that point.

BOX:

MitchellBxC06f01

COMPOSER:

Vial, Claude.

TITLE:

Le célèbre violoniste Eugène Ysaÿe évoqué par son fils.

IMPRINT:

[Belgium?] : [publisher not identified], [between 1961 and 1968]

NOTES:

Undated article in French, pages 20-25, detached from an unidentified magazine, probably a Belgian publication, volume no. 902. The date of publication is 1961 or later, since the article mentions of La Fondation Ysaÿe, founded in March of that year. The article includes rare photos and anecdotes. Folder contains 2 copies of article.

BOX:

MitchellBxC06f02

COMPOSER:

Ysaÿe, Antoine, 1894-1979.

TITLE:

Historique des six sonates pour violon seul op. 27 d'Eugène Ysaÿe : et résumé chronologique des événements importants de la vie et de la carrière du maitre suivi du catalogue de ses oeuvres et d'un essai discographique.

IMPRINT:

Brussels : Les Éditions Ysaÿe, 1967.

NOTES:

French text. At head of title: A la mémoire de Philip Newman. Serial number 5 in a limited edition series of 10 copies, printed on Japanese paper with wood grain. 4 unnumbered pages of plates. Dedication inscribed in ink on title page by Antoine Ysaÿe to Viola Mitchell, dated June 21, 1967.

BOX:

MitchellBxC06f03

TITLE:

Viola Mitchell : American violinist.

NOTES:

Publicity flyer in English containing a short biography, photo portrait, and excerpts from press reviews. The biography mentions Margaret Horne as one of her teachers. The folder contains 10 copies.

BOX:

MitchellBxC06f04

TITLE:

[Photographs.]

NOTES:

Two photographic prints: Undated monochrome portrait of Viola Mitchell, photographed at König-Rohde studio, Berlin (22 x 17 cm photo mounted on 29 x 21 cm card) – Undated monochrome group portrait, with Viola Mitchell probably at the head of the table (16 x 31 cm image printed on 25 x 36 cm card).

BOX:

MitchellBxC06f05

COMPOSER:

Blits, Carel.

TITLE:

Menuet pour violon.

IMPRINT:

Rotterdam : Carel Blits, 1932.

NOTES:

Manuscript in black ink, probably in the composer’s hand. For violin and piano. Score and part. At end: Rotterdam 21. 3. ’32. Title page in black crayon. Inscription in ink on title page in black ink: To my dear Miss Viola Mitchell, from Carel Blits. Pencil and red crayon markings on music, possibly in the composer’s hand.

BOX:

15 B6193mi MitchellBxC06f06

COMPOSER:

Chopin, Frédéric, 1810-1849.

TITLE:

First nocturne, op. 9 no. 1 / transposed and arranged for violin (or cello) with piano by Jef DeLeeuw.

IMPRINT:

Antwerp : Syndikaat der Toonkunstenaars, 1925.

NOTES:

Score and 2 parts. Inscription in ink on title page of score: offert respectueusement à la grande violoniste Miss Viola Mitchell Anvers 3, 1, 33 Jef De Leeuw [offered respectfully to the great violinist Miss Viola Mitchell. Antwerp, January 3, 1933. Jef DeLeeuw].

BOX:

MitchellBxC06f07

COMPOSER:

Ganaye, J.-B. (Jean-Baptiste), 1870-1946.

TITLE:

Deux pièces pour violon avec accompagnement de piano ou orgue. Andante religioso ; Barcarolle.

IMPRINT:

Boulogne sur Mer : Alph. Schotte et Cie., [1933?]

NOTES:

For violin and piano or organ. Two scores and two parts. Inscription in ink on title page of scores, probably in Mitchell’s hand: Viola Mitchell. Stamp impression in ink on title page of scores and caption of parts: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription in ink on caption of scores: A mademoiselle Viola Mitchell sympathique hommage J.B. Ganaye Rennes 20 déc. 1933.

BOX:

MitchellBxC06f08

COMPOSER:

Gaul, Harvey B. (Harvey Bartlett), 1881-1945.

TITLE:

Palestinian mother’s song : from Three Palestinian pastels.

IMPRINT:

New York : J. Fischer & Bro., 1936.

NOTES:

For violin and piano. Score and part. Dedication printed on caption of score: Inscribed with Regards to Viola Mitchell Who Once Lived in Pittsburgh. Stamp impression in ink on list title page of score and preliminary page of part: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription in ink on list title page of score: Viola Mitchell, For a Happy New Year, Harvey Gaul. Markings in pencil and blue crayon in the violin part, probably in Viola Mitchell’s hand.

BOX:

MitchellBxC06f09

COMPOSER:

Houdret, Charles, 1905-

TITLE:

Pavane, op. 6.

IMPRINT:

Brussels : Editions Ysaÿe, 1928.

NOTES:

For piano. Score. Inscription in French in black ink on caption by the composer, dated January 4, 1928.

BOX:

MitchellBxC06f10

COMPOSER:

Houdret, Charles, 1905-

TITLE:

Poème pour violon et orchestre.

IMPRINT:

[Belgium?] : Charles Houdret, [19--?]

NOTES:

Manuscript in black ink, probably in Houdret’s hand. Solo violin part. Inscription in ink on caption dedicated to Viola Mitchell. At end, inscribed upside down: Visions. Oversize; housed in cage box folder BxB093f08.

BOX:

BxB093f08

COMPOSER:

Kosman, Elkan.

TITLE:

Meditation for violin and pianoforte.

IMPRINT:

London : Elkin & Co., Ltd., 1923.

NOTES:

Score and part. Stamp impression in ink on title page of score and part: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription in ink on title page of score in ink: To my dear little granddaughter Viola, with best love. from Kosman. Dedication printed on caption of score and part: To my friend Fritz Kreisler. There are a few markings in pencil both in the violin and score.

BOX:

MitchellBxC06f12

COMPOSER:

Kramer, A. Walte (Arthur Walter), 1890-1969.

TITLE:

Eklog, op. 4, no. 1a.

IMPRINT:

Boston : Arthur P. Schmidt Co., 1919.

NOTES:

Arranged for violin and piano. Score and part. Stamp impression in ink on title page of score and caption of part: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription in ink on title page of score, probably in Mitchell’s hand: Viola Mitchell. Inscription in ink on title page of score by by A. Walter Kramer: For Miss Viola Mitchell, with sincerest wishes, A. Walter Kramer 10 February 1934. New York.

BOX:

MitchellBxC06f13

COMPOSER:

Newman, Philip, 1904 May 12-1966.

TITLE:

[Technical exercises for violin.]

IMPRINT:

[Place of production not identified] : Philip Newman, 1966.

NOTES:

Manuscript 1: black ink, probably in the composer’s hand. Includes annotations and comments in blue and red crayon. Score. Inscription in ink on caption: Dedicated to Viola. English violinist Philip Newman plays a somewhat obscure but important role in Ysaÿe’s circle. Scandalous rumors that he may have been Ysaÿe’s illegitimate son exist (described for example in Ysaÿe’s biography by Benoît-Jeanin), but aside from such stories, he was a violinist of solid artistic ability (as evidenced in his very few recordings) who was comfortable in exclusive musical circles. See the printout of Newman’s biography by Cheniston Roland housed in this folder. The item here is interesting in that it presents a pattern of exercises with comments that are geared toward a student violinist. As it is dated 1966, one could speculate that the exercises, along with the comments are related to something that both may have studied as students in Brussels.

Manuscript 2: blue ink, probably in the composer’s hand. Includes annotations and comments in blue and red crayon. Score. Inscription in blue crayon on verso: My thoughts and affection, Philip. Folder includes envelope that originally housed the manuscript, addressed in manuscript black ink to Viola Mitchell by her married name: Madame George Fearnside, 32 Franklin Roosevelt, Bruxelles. Folder also includes a biography of Philip Newman by historian Cheniston Roland, and a professional résumé of Cheniston Roland, both computer printouts dated June 14, 2005.

BOX:

16 N465te MitchellBxC06f14

COMPOSER:

Pileur, George.

TITLE:

Lied.

IMPRINT:

Messery [France] : George Pileur, 1931

NOTES:

Manuscript in black ink, probably in the composer’s hand. For violin and piano. Score and part. Inscriptions in black ink on caption of score: a Viola Mitchell, and, avec l’expression de mes très grande admiration et de mon meilleur souvenir [with my greatest admiration and fondest memories]. Score and part differ somewhat in details.

BOX:

15 P642ℓi MitchellBxC06f16

COMPOSER:

Wagner, Joseph, 1900-1974.

TITLE:

Sonatina lyric : violin and pianoforte.

IMPRINT:

Boston : The Manuscript Society, 1936.

NOTES:

Score and part. Inscription in ink on cover: To Viola Mitchell, one of my favorite violinists. Joseph Wagner, Dec. 5, 1937. Includes promotional pamphlet for Joseph Wagner.

BOX:

MitchellBxC06f17

COMPOSER:

Wurmser, Lucien.

TITLE:

Petit poème : pour violon et piano.

IMPRINT:

Paris : Costallat & Cie, [1933?]

NOTES:

Score and part. Inscription in ink on title page of score, probably in Mitchell’s hand: Viola Mitchell. Inscription in ink on preliminary page of part, probably in Mitchell’s hand: Viola Mitchell, 1933. Inscription in ink on caption of score: A ma charmante amie Mademoiselle Viola Mitchell En toute admiration et sympathie, Lucien Wurmser [To my charming friend Miss Viola Mitchell, with full admiration and sympathy, Lucien Wurmser]. The score has a few markings in red crayon. The violin part has markings in pencil, probably in Mitchell’s hand.

BOX:

MitchellBxC06f18

Series IV: Manuscript facsimiles

COMPOSER:

Malipiero, Gian Francesco, 1882-1973.

TITLE:

Concerto per violino e orchestra (1932).

IMPRINT:

[Milan] : [A. & G. Carisch], [1933]

NOTES:

Score. Reproduced from holograph. “A Mrs. Elizabeth S. Coolidge.” At end: Asolo, 22 Febbraio MCMXXXII. Imprint from purchase documentation. Inscription in ink on preliminary page: A Viola Mitchell prima interprete di questo concerto G. Francesco Malipiero. Asolo 16 Marzo 1933. Pencil markings, probably in Mitchell’s hand, indicating solo and orchestral entries.

BOX:

MitchellBxC07f01

COMPOSER:

Malipiero, Gian Francesco, 1882-1973.

TITLE:

Concerto per violino e orchestra (1932).

IMPRINT:

Milan : A. & G. Carisch, 1933.

NOTES:

Score. Reproduced from holograph. “A Mrs. Elizabeth S. Coolidge.” At end: Asolo, 22 Febbraio MCMXXXII. Inscription in pencil on cover: Property of composer. Copious markings in pencil, blue crayon, and red crayon; possibly a conductor’s performance score. There are alterations in pencil in the last four measures. Markings and revisions possibly added by Malipiero.

BOX:

MitchellBxC07f02

COMPOSER:

Malipiero, Gian Francesco, 1882-1973.

TITLE:

Concerto per violino e orchestra (1932) : dedicated to Elisabeth S. Coolidge.

IMPRINT:

Milan : A. & G. Carisch, 1933.

NOTES:

Score. Reproduced from holograph. “A Mrs. Elizabeth S. Coolidge.” At end: Asolo, 22 Febbraio MCMXXXII. Inscription in pencil on cover: 19 min. The first two sheets are unseparated. Markings in pencil, blue crayon, red crayon, brown crayon, black crayon, and green crayon; possibly a conductor’s performance score. There are more markings in this copy than in the copy housed in MitchellBxC07f02, but there are no alterations of the last four measures.

BOX:

MitchellBxC07f03

COMPOSER:

Malipiero, Gian Francesco, 1882-1973.

TITLE:

Concerto per violino e orchestra.

IMPRINT:

[Place of production not identified] : [producer not identifed], 1932.

NOTES:

Solo violin part. Manuscript in black ink, possibly in Viola Mitchell’s hand. Markings in red crayon and pencil. At end: Asolo, Italie, 22 February, 1932. (There is the possibility that this date is a transcription of Malipiero’s date of composition recorded at the end of the full score; see MitchellBxC07f01-MitchellBxC07f03. There is also the possibility that Malipiero provided a short score to Mitchell in advance, so that the writer of this manuscript and Malipiero finished on the same date.)

BOX:

15 M295co no.1 part MitchellBxC07f04      

COMPOSER:

Malipiero, Gian Francesco, 1882-1973.

TITLE:

Concerto per violino e orchestra / riduzione per violino e pianoforte.

IMPRINT:

Milan : A. & G. Carisch, 1933.

NOTES:

Arranged for violin and piano. Score and part. The part seems to be either a pre-production copy, as there is no publication information on the music, or an earlier edition since the layout of the part is slightly different from that published by A. & G. Carisch. The violin part is particularly worn, with torn and taped edges and a taped and separated spine. Inscription on caption of part, probably in Mitchell’s hand, though it looks different from her other signatures: Viola Mitchell, Dec. 1932. Faded stamp impression in ink on caption: Viola B. Mitchell, 347 Bank St., Sewickley, PA. The part has numerous markings in pencil and some blue crayon and red crayon. The handwriting is in places remarkably similar to Ysaÿe’s. The score has markings in purple crayon, red crayon and pencil, including metronome markings at the beginning of the first and third movements. Textual markings are mostly in German with some French and Italian.

BOX:

MitchellBxC07f05

COMPOSER:

Malipiero, Gian Francesco, 1882-1973.

TITLE:

Concerto per violino e orchestra / riduzione per pianoforte e canto.

IMPRINT:

[Milan?] : [A. & G. Carisch?], [1932?]

NOTES:

Arranged for violin and piano. Score. Title inscribed in black ink, probably in composer’s hand. At end: Asolo, 10 Marzo MCMXXXII. Negative image facsimile of holograph. Facsimile images are mounted on pages sewn at the spine. Inscription in ink on title page, probably in Mitchell’s hand: Viola Mitchell, 1932.

BOX:

MitchellBxC07f06

COMPOSER:

Malipiero, Gian Francesco, 1882-1973.

TITLE:

Concerto per violino e orchestra.

IMPRINT:

Milan : A. & G. Carisch, 1933.

NOTES:

Orchestral parts. String parts are printed; wind and percussion parts are in manuscript black ink, probably in a copyist’s hand. The titles on the manuscript parts appear to be in Malipiero’s hand. All parts show markings reflecting their use in performance, and all (except for two photocopied viola parts) carry the following inscription on the caption in manuscript black ink: Viola Mitchell 1933. Contents: 8 violin I parts; 7 violin II parts; 6 viola parts (of which two are photocopies bound with adhesive tape); 5 cello parts; 4 double bass parts; flute I & II; oboe I & II; clarinet in B-flat I & II; bassoon I & II; horn in F I, II, III, and IV; trumpet in B-flat; timpani; celesta; tenor drum & tambourine; glockenspiel; bass drum.

BOX:

MitchellBxC07f07

COMPOSER:

Malipiero, Gian Francesco, 1882-1973.

TITLE:

Variazioni senza tema : per pianoforte e orchestra / reduzione per due pianoforti.

IMPRINT:

Milano : Ricordi, 1924.

NOTES:

Arranged for solo piano with piano 4-hands accompaniment. Score. Inscription in ink on cover in Mitchell’s hand: Viola Mitchell, August 1933. Stamp impression in ink on cover: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription on title page of score in black ink in Malipiero’s hand: A Viola Mitchell omaggio, G. Francesco Malipiero, Asolo agosto, 1933 [possibly 1935]. Folder also contains a signed holograph violin part in black ink with the caption title Varizaioni senza tema : parafrasi per violino e orchestra, an adaptation by the composer of his Variazioni senza tema for piano and orchestra. Inscription on caption of part: For Miss Viola Mitchell; at end of part: Asolo, 25 agosto MCMXXXIII. The violin part has markings in purple crayon, red crayon, and pencil, probably in Mitchell’s hand. The 2-piano score contains markings in purple and red crayon indicating where solo violin solo passages occur in the adaptation, and indications of orchestral tuttis. Of note is a pencil marking and annotation in French on page 16 of the score: Il faut que le violon solo ne joue pas la partie soulignée [The violin must not play the underlined part].

BOX:

MitchellBxC07f08

COMPOSER:

Malipiero, Gian Francesco, 1882-1973.

TITLE:

Variazioni senza tema : per pianoforte e orchestra.

IMPRINT:

Milano : Ricordi, 1925.

NOTES:

Study score. Inscription in black ink on cover: Viola Mitchell. The verso of the cover bears an adhesive stamp with the legend G. Ricordi & C. Omagio degli editori. The score has been amended with the solo violin part to Varizaioni senza tema : parafrasi per violino e orchestra added in manuscript black ink with markings in red crayon and blue crayon.

BOX:

MitchellBxC07f09

COMPOSER:

Malipiero, Gian Francesco, 1882-1973.

TITLE:

Canto nell’Infinito : pour violon et piano.

IMPRINT:

Paris : Alphonse Leduc, 1925.

NOTES:

Score and part. Inscription on cover: Viola Mitchell, Asolo, March 33. Inscription on caption of violin part: Viola Mitchell, Asolo 1933.

BOX:

MitchellBxC07f10

COMPOSER:

Malipiero, Gian Francesco, 1882-1973.

TITLE:

Lamento d’Arianna / del signor Claudio Monteverdi.

IMPRINT:

Asolo : G. Francesco Malipiero, 1930.

NOTES:

For voice and continuo. Score. Stamp impression in ink on title page: Viola B. Mitchell, 347 Bank St., Sewickley, PA. Inscription in ink on title page verso: “A Viola Mitchell, le secretaire de feu[?] M. Claudio Monteverdi, G. Francesco Malipiero, Asolo 20 mars 1933.

BOX:

MitchellBxC07f11

SEE ALSO:

Malipiero, Gian Francesco, 1882-1973. Sonata a tre. MitchellBxC11f07

Tartini, Giuseppe, 1692-1770. Sonatas for violin and piano. MitchellBxC20f12

Series V: Other printed scores in the Viola Mitchell collection