Peter Jay Sharp Special Collections, Lila Acheson Wallace Library, The Juilliard School
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Contact Information |
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Peter Jay Sharp Special Collections |
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Lila Acheson Wallace Library |
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The Juilliard School |
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60 Lincoln Center Plaza |
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New York, NY 10023-6588 |
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USA |
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Phone: (212) 799-5000, ext. 265 |
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Fax: (212) 769-6421 |
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Email: library@juilliard.edu |
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Processed by: |
Ray Iwazumi |
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Date completed: |
April 11, 2016 |
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Encoded by: |
Ray Iwazumi and David Snow |
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©2016 |
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Table of Contents
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Origination: |
Persinger, Louis, 1887-1966. |
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Title: |
Louis Persinger Music Collection, approximately 1836-1965. |
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Extent: |
5.27 cubic feet (17 boxes). |
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Repository: |
Peter Jay Sharp Special Collections, Lila Acheson Wallace Library, The Juilliard School. |
Organized in a single series of music scores.
Manuscripts, facsimiles, and published editions of chamber music and works for violin with orchestra, many with markings in Louis Persinger’s hand.
Gift from the estate of Louis Persinger.
Restricted access to rare materials: apply; Library Director.
Louis Persinger papers also located at The Juilliard School.
American violinist, pianist and teacher Louis Persinger began studies at the Leipzig Conservatory at age of thirteen with Hans Becker (violin), Carl Beving (piano), and Arthur Nikisch (conducting). He settled in Brussels four years later to study with Eugène Ysaÿe, and made his debut as violin soloist with the Philadelphia Orchestra under Leopold Stokowski in 1912. He became conductor of the Berlin Philharmonic in 1914, and director of the San Francisco Symphony in 1915. Two years later he formed his own string quartet and became director of the Chamber Music Society of San Francisco. In 1930 he succeeded Leopold Auer at the Juilliard School, where he taught the violin and chamber music until his death. Among his pupils were Guila Bustabo, Yehudi Menuhin, Ruggiero Ricci, Isaac Stern and Camilla Wicks.
Chamber music.
Concertos (Violin)
Concertos (Violin) – Cadenzas.
Violin with orchestra.
Violin – Studies and exercises.
Musical sketches.
Music – Manuscripts – Facsimiles.
Persinger box 1, folder 1
AUTHOR: Fauré, Gabriel.
TITLE: Sonate, Op. 13.
IMPRINT: Leipzig : Breitkopf & Härtel, [19--?]
NOTES: Composition dedicated to Paul Viardot. Plate number: Viol. Bibl. 14541. Inscription in ink on upper right of title page: à Monsieur Louis Persinger [ton amical souvenir][?] 22 [9bre][septembre?] 1908, [signed] Gabriel Fauré.
There are quite a few markings, all in pencil, in the first movement. However, there are only a few markings in the second, third, and fourth movements (page numbers corresponding to printed page numbers).
— pg. 3, fingerings in pencil in piano part; staff 3, right margin in pencil: (brillant)
— pg. 4, comma in pencil in first measure; fingerings in pencil in piano part
— pg. 5, dynamics and fingerings in piano part written in pencil
— pg. 6, breath mark in pencil after sixth measure; staff, right margin in pencil: cedez; break between left and right hand penciled in for second ending, first measure
— pg. 8, last two measures in pencil and crossed out in pencil: cedez a tempo
— pg. 10, mark [breath mark?] in pencil in fourth staff
— pg. 11, ninth measure in pencil: cedez; third staff in pencil: accel. poco a poco; dynamics in last staff in thick pencil
— pg. 12, second staff right margin in pencil: f(orte); continuation of forte by dotted line in pencil through third staff; comma in pencil fourth staff
— pg. 13, last staff dynamics and breath mark in pencil
— pg. 14, fourth staff tenuto mark in pencil in both violin and piano part; last staff breath mark in pencil
— pg. 15, fingerings in pencil in piano part
— pg. 16, circled in pencil dynamic pp in first staff; in thick pencil in fourth staff: (pp)
— pg. 20, fingerings in pencil in piano part
— pg. 25, fingering in pencil in piano part
— pg. 26, fingerings in pencil in piano part
— pg. 28, fingering in pencil in piano part
— pg. 29, in second staff in pencil: cédez-tempo
— pg. 32, fingerings in pencil in piano part; in third staff in pencil: X
— pg. 33, big decrescendo in thick pencil in last staff; in pencil at the end of the third movement, in bottom margin: ppp
— pg. 38, fingerings in piano part; decrescendo marking in pencil in last staff: last staff in pencil: cedez, cedez
— pg. 40, dynamic markings in pencil
— pg. 43, fingerings in pencil in piano part
— pg. 44, unclear marking in thick pencil in second staff; in third staff in pencil: — (accel.)
Persinger box 1, folder 2
AUTHOR: Persinger, Louis.
TITLE: A daily study in thirds.
NOTES: Manuscript in blue ink, probably in the hand of Louis Persinger. Dated on title page: Louis Persinger. 1926. Written on paper imprinted: Monarch Brand, Carl Fischer, NY / No. 4 — 12 lines.
Page 1 of 2:
A cleverly constructed continuous passage of thirds that covers the circle of fifths by shifting down in thirds. Minor modes go up in melodic minor, but sometimes down in harmonic minor. One curiosity: G minor is repeated; once in melodic minor, and then in Phrygian — perhaps the second instance should have been in E-flat major?
Written on the same page as the passage in thirds: (To be practiced with various bowings — détaché, legato, spiccato, staccato, etc. also at various “speeds” and with varied coloring (p.f. <> etc.)
Signed: Louis Persinger. Carmel, Aug.[?] 26th , 1926.
Written with a different pen, in blue ink (possibly same hand at a later date — i.e. Persinger): (This was written for Yehudi).
Page 2 of 2:
The text and exercises are written with the same pen and ink as the inscription “(This was written for Yehudi)” on the previous page. Note that the writing is much rougher than the very neat writing found on page 1.
More exercises, but not thirds. Exercises concentrate on finger extensions, scales and arpeggios, in rhythmic and finger patterns rather than the scales themselves.
Text, taken from top:
several times
repeat, then double speed (slurring more notes together
(also reversed) — and continue on up.
— begin in any position —
under various or misc.
scales, arpeggios
etc. (detaché)
etc. all keys, any positions
(stretching exercise)
etc. any position, any key, any fingering as long as reaching to the high notes is a stretch (Reading, no slides)
another one:
etc. also in other keys, other positions
(also reversed)
octaves: (not fingered)
(col 8va) _ _ _
various bowings — all shiftings late, quick, clean + without undue pressure. (as many different keys as possible.)
SEE ALSO: Persinger box 1, folder 4.
Persinger box 1, folder 3
AUTHOR: Persinger, Louis.
TITLE: “Berkeley 22-11.28 (for Ruggiero Ricci).”
NOTES: Manuscript in pencil, in a rough hand, much like a sketch. The exercises concentrate exclusively on three note and four note chords. The focus of the exercise seems to be the refinement of a solid bow stroke combined with an aim for vibrant chords.
Text, taken from top:
straight. flat (24 keys). vibrato straight strokes. Flat bow. vibrato
— in many keys —
also in other keys
(other keys)
L.P. [signed as a logo?]
Berkeley.
22-11-28.
(For Ruggiero Ricci)
Persinger box 1, folder 4
AUTHOR: Persinger, Louis.
TITLE: Musical drudgery.
NOTES: One typewritten page with handwritten text and grammar corrections in blue ink (quite possibly in Persinger’s own hand). The text refers to exercises that he [Persinger] had written for his students. Notably, it refers to an exercise in thirds, quite possibly the one he had written out for Menuhin (see Persinger box 1, folder 2), as well as exercises in diminished sevenths. The title “Musical Drudgery” has a subtitle (or replacement title) “Technical exercises for the violin and the bow” in ink.
SEE ALSO: Persinger box 2, folders 1, 2, and 3.
Persinger box 1, folder 5
AUTHOR: Persinger, Louis.
TITLE: Notes (2 pages).
NOTES: One torn off page and one letter size page in blue ink.
Torn off page:
The notes deal with exercises, written probably with the intent of writing them out on music paper at a later or more convenient time. Note that Persinger remarks (as in his remarks to his other exercises) that shifts should be “late, quick, clean, and without undue pressure,” with “no slides.”
Letter size page:
This page is a sketch for a design of a new kind of mute, along with ideas of what materials to use and how much it should cost. Apparently, the idea was to have a mute with an anchor and retractable or elastic arm. Written on the bottom is a phone number for a certain Berman. The handwritten description reads: The L.P. flying mute — To remove the mute from the bridge simply lift it off horizontally and allow it to “fly” back itself quickly + noiselessly to its resting place. [underneath] (the shoulder? —
Persinger box 1, folder 6
AUTHOR: Persinger, Louis.
TITLE: Notes.
NOTES: One sheet of graph paper written on both sides in blue ink. This sheet contains rough sketches of exercises almost certainly linked to “More Musical Drudgery!” (Persinger box 2, folder 1). Therefore, it can be believed that these notes were written at or near the same time as “More Musical Drudgery!” (i.e. 1929 – 1930). The reverse side, deals with outlines for exercises of broken thirds. However, in a darker blue ink, perhaps written in at a later time is the remark: also in 4ths (7ths?) — [and underneath] (To be practiced in the same manner as the scales and arpeggios ) marked [X with a circle]. Note that the sign [X with a circle] is marked for specific exercises found in “More Musical Drudgery!”
Persinger box 1, folder 7
AUTHOR: Persinger, Louis.
TITLE: Notes (music & text) pertaining to broken thirds.
NOTES: One page of notes in blue ink in a booklet of five leaves printed with empty music staves folded in the middle; G. Schirmer Royal Brand No. 50 – 9 staves paper. This is a sketch for an exercise in broken thirds. Interesting is that Persinger considers several aspects and small details. For example he writes: also in quartertones! (how!). He also notes to himself: (Figure out a rhythm so that the top long note and the bottom ending note come on the even beat). Other than the first page, the other pages are blank.
Persinger box 1, folder 8
AUTHOR: Persinger, Louis.
TITLE: Shifting Exercise.
NOTES: Shifting exercises in blue ink, with a few remarks and fingerings in pencil. Written on front and back of Sightation Spiral paper. Exercises are based on the scale, and the arpeggio, and often have notes repeated to be played with different fingers.
Text, from the top:
Shifting exercises (Ex. in Changing Positions)
On one string – (also in dotted rhythms)
Starting in any position -
[ditto] [Starting in any] key -
leaps[?] going up the strings
triplets [?] possible
all shifts late and light (little pressure!) (in the moment of shifting) on the back:
Also in all other keys (maj. + min.), with various other finger combinations and bowings.
Persinger box 1, folder 9
AUTHOR: Persinger, Louis.
TITLE: Stretching exercises.
NOTES: Stretching exercises in blue ink, with a few examples and remarks in pencil. Written on the front only of Sightation Spiral paper. Exercises are based on diminished seventh patterns and other note patterns.
Text, from the top:
Stretching exercises
groups going up the string as high as possible
Fingers to remain down whenever possible -
on any string – (all these stretching exercises are to be practised [sic.] in short periods only)
starting in any key and in any (?) position possible
all shifting late and with little pressure -
[X with circle] (-same string)
(-stretching)
(on going on higher)
[X with circle] if 8ve stretch is too straining use smaller intervals at first -
(various rhythms (triplets, dotted etc.) speeds, bowings, etc.)
(on one string)
(also reversed)
(+ reversed)
(also reversed) (also reversed)
also going up on one string + descending on another one (a different key, of course)
Persinger box 1, folder 10
AUTHOR: Riegger, Wallingford.
TITLE: Meditation.
NOTES: A photocopy of a manuscript. There are some markings in blue crayon in the piano score. The loose sheets are contained within a folder from Carl Fischer. On the right hand top of the front cover is written in pencil: no charge.
Persinger box 1, folder 11
AUTHOR: Riegger, Wallingford.
TITLE: Whimsy for Violoncello or Violin and Piano.
IMPRINT: New York : G. Schirmer, 1930.
NOTES: A score with solo parts for cello and violin. On the upper left hand corner of the first printed page is written (or signed): Louis Persinger [/] — [?] [/] Wallingford Riegger. Otherwise, there are no markings.
Persinger box 1, folder 12
AUTHOR: Ysaÿe, Eugène.
TITLE: Manuscripts in the library of the Juilliard School.
NOTES: A typewritten page listing the manuscripts of Eugène Ysaÿe found in the Library of The Juilliard School from the Collection of Louis Persinger.
Two remarks are penned in:
Below the listing, 4th Sonata: i.e. 2d
At the bottom of the page: Mozart. Concerto, K. 216. Cadenzas. 1906.
Persinger box 1, folder 13
TITLE: [Packing slip describing Ysaÿe materials.]
NOTES: Two copies of a packing slip in French describing two packages that were sent by registered mail on September 14, 1939 to Persinger’s New York address.
Package 1 contained:
— manuscript of Sonata Op. 27 No. 6
— manuscript of Second Divertimento (edited under the title “Fantaisie”)
— manuscript of the first part to the Concerto in B minor
Package 2 contained:
— manuscript copy of first and second part of the Third Concerto in A minor, reviewed by Ysaÿe
— manuscript of the score for the Ysaÿe’s Concerto in D minor
— manuscript with orchestration sketches of the finale to the Concerto in D
Persinger box 1, folder 14
TITLE: Autre final pour le concert en Mi.
NOTES: Two photocopies of the title page found in this folder. A handwritten note mentions: Title page for autre finale removed to restore.
The original was found in the Persinger Collection: “other Ysaÿe material from Persinger gift” box, and has been consequently relocated here. A loose brown paper sheet, reinforced by transparent tape. Written in dark blue crayon, in the hand of Ysaÿe is: Autre final pour [/] le concerto en mi [/] E.Y. [/] Vagues projets restes [/] en friches!!! [/] quelques coins étaient [/] bons — mais! … [The other finale for the concerto in E. E.[ugène]Y.[saÿe] Vague projects yet remain to be taken up!!! Some parts are good — but!. . .][trans. Ray Iwazumi] On the reverse side, (upside down) is written in calligraphic style: 2. Finals en mi mag.
Persinger box 1, folder 15
AUTHOR: Ysaÿe, Eugène.
TITLE: Cadence pour le concerto de Brahms.
NOTES: A manuscript in black ink on dizao vellum of Ysaÿe’s cadenza for the Brahms Violin Concerto, probably not in Ysaÿe’s hand. Perhaps it was copied out by Persinger when he was a student of Ysaÿe’s. Note that this copy is incomplete and is textually different in quite a few ways compared to Persinger box 2, folder 7 (Eugène Ysaÿe, Cadenza for the Brahms violin concerto). Note that this copy was probably based upon a manuscript written later than the sketch which survives at the Royal Conservatory Library of Liège.
Persinger box 1, folder 16
AUTHOR: Ysaÿe, Eugène.
TITLE: Cadenza to concerto in G major by Mozart.
NOTES: A manuscript in black ink with markings in pencil, probably in the hand of Persinger, of Ysaÿe’s cadenza to Mozart’s G major Violin Concerto. Note that the title is in English, as listed in the title of this folder. Also, the bottom of the third page is physically cleanly cut out — no music seems to be missing, however. This version seems to be a preceding version of that found in Persinger box 2, folder 8 (Eugène Ysaÿe, Cadences pour le concert g-dur ... de Mozart). Note that Persinger edited these cadenzas for publication when they were published by Éditions Ysaÿe.
There is a sketch/addition in pencil that Persinger places in the cadenza to the third movement. Note that it is found neither in Persinger box 2, folder 8 (Eugène Ysaÿe, Cadences pour le concert g-dur ... de Mozart) nor the version published by Éditions Ysaÿe. It may be assumed that this addition, since it is signed L.P. [Louis Persinger’s logo] was an elaboration by Persinger for his own use. The use of the logo also suggests that this addition was made at a much later point relative to when this manuscript was first copied out.
Persinger box 1, folder 17
AUTHOR: Ysaÿe, Eugène.
TITLE: Cadenza to Mozart G major concerto.
NOTES: Three carbon copies of a typewritten and handwritten copy of Ysaÿe’s cadenza to Mozart’s G major Violin Concerto. Note that the version here resembles the manuscript version found in Persinger box 1, folder 16 (Eugène Ysaÿe, Cadenza to concerto in G major by Mozart).
One copy has a handwritten scrawl in pencil on the cover: Mozart (g). This copy is also the only one of the three in this folder that has a marking in pencil, an “x” marked in pencil at the end of the third staff.
Persinger box 1, folder 18
AUTHOR: Ysaÿe, Eugène.
TITLE: Cadenza pour le concerto Viotti.
NOTES: A manuscript in black ink on wax paper of Ysaÿe’s cadenza to Viotti’s Violin Concerto No. 22. The manuscript was probably copied out by Persinger, and is the cadenza to the first movement. The cadenza to the second movement is not included. This is a clean manuscript with no markings made with other writing instruments.
SEE ALSO: Persinger box 6, folder 10.
Persinger box 1, folder 19
AUTHOR: Ysaÿe, Eugène.
TITLE: Concerto d’après deux poèmes.
NOTES: A photocopy of the Concerto d’après deux poèmes. Solo part and piano reduction of the orchestra part. Note that this composition is an arrangement of two of Ysaÿe’s poems. The arrangement was made by Ysaÿe’s grandson, Jacques Ysaÿe.
Persinger box 2, folder 1
AUTHOR: Persinger, Louis.
TITLE: “More musical drudgery”
NOTES: A manuscript in pencil and blue ink; in two parts, both titled “More Musical Drudgery!” and dated: Forest Hills, 1929 [with the L.P. logo]; written on Monarch Brand, Carl Fischer, New York, No. 3 paper.
There are many notes made between the staffs and in the margins. The remarks either describe how each exercise should be practiced, or categorize each exercise, probably with the intent of organizing them later.
First part:
— first exercise is scales on one string, but with a fingering that forces one to shift back and forth with each note
— second exercise is a broken scale with shifts
— third exercise is an arpeggio in a particular rhythm and bowing
— fourth exercise is thirds with spiccato articulation
— fifth exercise is a note pattern
— sixth exercise is a pattern of thirds going up and down chromatically
— seventh to fifteenth exercises are patterns and various bowings for arpeggios and scales
— sixteenth exercise is in octaves (also to be applied to thirds and sixths)
— seventeenth exercise is a pattern for scales
— eighteenth exercise is octave jumps
— nineteenth and twentieth exercises are patterns for scales
— twentieth exercise is a note pattern with spiccato articulation
— twenty-first exercise is a scale pattern with legato to spiccato articulation
— twenty-second exercise is a note pattern with spiccato articulation
— twenty-third exercise is a scale pattern exercise that stresses keeping fingers down (noted and dated: Inlet, July, 1930)
— twenty-fourth exercise (found on last page) is a chromatic pattern to be played on one string
Second part:
— first exercise is an arpeggio with a pattern dictating the number of repetitions for each note
— second exercise (crossed out?) is an arpeggio in rhythm, with the first note of each group marked with Ysaÿe’s marking for employez tout l’archet (i.e. use the whole bow)
— third exercise is a ‘standard’ arpeggio with long bottom and top notes
— fourth exercise is a scale with a rhythm and bowing identical to the second exercise
— fifth exercise (crossed out) is an arpeggio, like the second exercise, but faster rate of change in notes
— sixth exercise is a standard arpeggio in triplets with bowings
— seventh exercise is an arpeggio in double notes
— eighth exercise is an arpeggio in dotted rhythm and bowings
— ninth and tenth exercises are note patterns with spiccato articulation
— eleventh exercise is a note pattern in thirds with spiccato articulation
— twelfth exercise is chromatic octaves with a pattern at the top of the scale
— thirteenth exercise is an arpeggio pattern in sixths, with a note in the left margin: (Thibaud)
— fourteenth exercise is an arpeggio in rhythm
— fifteenth exercise is a scale in pattern
— sixteenth exercise is like the previous exercise, but for arpeggios
— seventeenth exercise is a note pattern
— eighteenth exercise is a scale in sixths with a spiccato articulation
— nineteenth exercise is a scale in double notes with directions for various articulations and bowings; noted in ink is that it should also be practiced in dotted rhythms
— twentieth exercise is a note pattern
— twenty-first exercise is a scale in thirds using the same fingering throughout
— twenty-second exercise is a scale in thirds with an octave added (therefore a triple-stop)
— twenty-third exercise is an arpeggio in thirds with the same fingering, or alternating fingering, with a note in the left margin: (Thomson)
— twenty-fourth exercise is a scale of thirds in pattern
— twenty-fifth exercise is an elaborated arpeggio of thirds in pattern
— twenty-sixth exercise is a note pattern with bowings
— twenty-seventh exercise is a shifting and stretching exercise
SEE ALSO: Persinger box 1, folders 4 and 6.
Persinger box 2, folder 2
AUTHOR: Persinger, Louis.
TITLE: Musical drudgery Title page.
NOTES: A manuscript title page in pencil written on a leaf of Monarch Brand, Carl Fischer, New York. No. 10 – 12 lines paper.
Written in pencil is: Musical Drudgery / a great number of these were written (or tried) on the spur of the moment for particular pupils [signed with logo] L.P.
SEE ALSO: Persinger box 1, folder 4.
Persinger box 2, folder 3
AUTHOR: Persinger, Louis.
TITLE: Musical drudgery (continued) 1930.
NOTES: A manuscript in pencil and blue ink written on Monarch Brand, Carl Fischer, New York, No. 3 paper.
Title page is in pencil: Musical Drudgery, (continued!) 1930 [signed with logo] L.P. The exercises found here are concerned less with scales and arpeggios per se than with shifting, string crossing, and double stop patterns. The first page is in pencil, with remarks in blue ink. The second page is entirely in blue ink. Again, as in Persinger box 2, folder 1, the remarks either describe how each exercise should be practiced, or categorize the exercise, probably with the intent of organizing them later.
First page:
– first exercise shifts pairs of notes through all four strings
– second exercise explores extensions within the context of melismatic double stops
– third exercise combines shifts with slurred string crossing
– fourth exercise is a scale in a pattern of quintuplets; in the margin is the date: (1932)
Second page:
– first exercise is a scale with alternating notes in fingered octaves; variants are given as well
– second exercise is a scale in thirds in pattern with variants in fingering
SEE ALSO: Persinger box 1, folder 4.
Persinger box 2, folder 4
AUTHOR: Persinger, Louis.
TITLE: Passage des cordes.
NOTES: These are exercises almost identical to those found in the “Exercises et Gammes” of Ysaÿe, possibly copied out in Persinger’s hand when he was a student of Ysaÿe’s. An extremely valuable manuscript from the viewpoint that the exercises detailed here are in some cases more detailed than those found in the copy of the “Exercises et Gammes” found in Liège (thus more detailed than the subsequently published “Exercises et Gammes”). There are also comments, perhaps Persinger’s own, but also likely to be advice from Ysaÿe.
The cover page suggests that this was a notebook of manuscript paper published by Franz Jost Musikalienhandlung Leipzig. On the upper right hand, crossed out is: Légende ... S. B. P[oss???] Underneath is written: Technique. Ysaÿe [/] Louis H. Persinger.
Inside, the exercises, written in blue-black ink are almost identical to the “Exercises et Gammes” of Ysaÿe, and titles and indications are in French. There are several comments in English and one additional exercise written in pencil.
Persinger box 2, folder 5
AUTHOR: Ravel, Maurice.
TITLE: Trio pour Piano, Violon et Violoncelle.
IMPRINT: Paris : Durand & Cie., Éditeurs, ??.
NOTES: Louis Persinger’s copy of a printed score and parts of Ravel’s Piano Trio. There are some markings in the piano score. There are many fingerings and markings in the violin part.
On the inner title page is written:
Kneisel Hall, Blue Hill, Ma[ine]
July 27th, 1958.
L.P.
Barbara Poleuquest[?]
Carl Stern
(1st public performance for L.P. Believe it or not!!)
Persinger box 2, folder 6
AUTHOR: Ravel, Maurice.
TITLE: Pièce en forme de habanera / arr. G. Catherine.
IMPRINT: Paris : Alphonse Leduc, 1926.
NOTES: Persinger’s copy of a printed score of Ravel’s Pièce en forme de habanera. There are some markings in both the violin and piano score.
The title page has written in pencil: Louis Persinger, Chicago, 1927.
The inner title page has written in pencil: [logo] L.P. Chicago, 1927.
The reverse side of the inner title page has written in pencil: “- or an octopus kissing somebody, with its tentacles all around’em” — Yehudi, at this lesson, on Dec. 16th, 1927.
The first page of violin part has written in ink: (Kochanski)
The first page of violin part also has in pencil: [logo] L.P.
Many of the passages have penciled in: 8va—
Persinger box 2, folder 7
AUTHOR: Ysaÿe, Eugène.
TITLE: Cadenza for the Brahms violin concerto.
NOTES: A manuscript written on printed staff paper, in the hand of Louis Persinger, of Ysaÿe’s cadenza. Note that it is textually different in quite a few ways from that found in Persinger box 1, folder 15 (Eugène Ysaÿe, Cadence pour le concerto de Brahms).
Title page has the title in black ink: Cadenza for the Brahms Violin Concerto by Eugène Ysaÿe [underneath] Louis Persinger. San Rafael. Oct. 11th 1925. Within the text, Persinger makes note of an adjustment to make the metrical structure work out correctly. In pencil, probably written in at a later point Persinger notes: This cadenza was written in Frankfurt a/m. [am Main] about 17 or 18 years ago (1925), according to Deru[a pupil of Ysaÿe]. Note that this copy was probably based upon a manuscript written later than the sketch which survives at the Royal Conservatory Library of Liège.
Persinger box 2, folder 8
AUTHOR: Ysaÿe, Eugène.
TITLE: Cadences pour le concert g-dur ... de Mozart.
NOTES: A manuscript in black ink with markings in pencil and blue ink on paper from Schott Frères, Bruxelles, probably in the hand of Louis Persinger, of Ysaÿe’s cadenzas for Mozart’s G major Violin Concerto. One curiosity is that in the second staff, although all other musical indications in ink are in Italian or French, there is a remark in German: breiter. Note that Persinger edited these cadenzas for publication when they were published by Éditions Ysaÿe.
The title page has signed in upper right: Louis Persinger
and has written on it: Cadences [/] pour le concerto [/] g dur – sol majeur [/] (no. III) [/] de[/] Mozart [/] composés par [/] Eugène Ysaÿe [/] 1906.
There are numerous “x” marks in pencil found throughout.
Persinger box 2, folder 9
AUTHOR: Ysaÿe, Eugène.
TITLE: Petit poème romantique. Orchestra parts.
NOTES: These are parts in manuscript for reduced orchestra for Ysaÿe’s Petit poème romantique, a work that was evidently rediscovered in 1974 (according to the catalog found in Antoine Ysaÿe. Ysaÿe. translated by Frank Clarkson. Great Missenden, England: W. E. Hill & Sons, 1980.). The parts are probably in the hand of a copyist. Note that some parts have English mixed in with the French. For example the Viola part is titled Viola, and not Alto as a native French speaker would probably write. There is no score or solo part. All parts are written on Monarch Brand Nr3. - Carl Fischer, New York paper.
The parts are for:
Violin I: 1, 2, 3
Violin II: 1, 2
Viola: I, 2
Cello
Bass
Flute 1
Flute 2
Oboe 1
Oboe 2
Clarinet in B-flat 1
Clarinet in B-flat 2
Bassoon 1
Bassoon 2
Horn in F 1
Horn in F 2
Triangle
Persinger box 2, folder 10
AUTHOR: Ysaÿe, Eugène
TITLE: Sonatas, violin, op. 27 no. 1.
IMPRINT: Brussels : Éditions Ysaÿe, 1924.
NOTES: A copy of the first edition of Sonata No. 1. There are no markings in the musical text.
Persinger box 2, folder 11
AUTHOR: Ysaÿe, Eugène
TITLE: Sonatas, violin, op. 27, no. 2.
IMPRINT: Brussels : Éditions Ysaÿe, 1924.
NOTES: A copy of the first edition of Sonata No. 2. The cover seems to be missing. There is a penciled-in correction of a note for the first measure.
Persinger box 2, folder 12
AUTHOR: Ysaÿe, Eugène
TITLE: Sonatas, violin, op. 27, no. 3.
IMPRINT: Brussels : Éditions Ysaÿe, 1924.
NOTES: A copy of the first edition of Sonata No. 3. The cover seems to be missing. There are no markings in the musical text.
Persinger box 2, folder 13
AUTHOR: Ysaÿe, Eugène.
TITLE: Sonatas, violin, op. 27, no. 4.
IMPRINT: Brussels : Éditions Ysaÿe, 1924.
NOTES: A copy of the first edition of Sonata No. 4. The cover seems to be missing. Title page has the name Albert Stoessel written in the upper right. There are no markings in the musical text.
Persinger box 2, folder 14
AUTHOR: Ysaÿe, Eugène.
TITLE: Sonatas, violin, op. 27, no. 5.
IMPRINT: Brussels : Éditions Ysaÿe, 1924.
NOTES: A copy of the first edition of Sonata No. 5. The cover seems to be missing. There are no markings in the musical text.
Persinger box 2, folder 15
AUTHOR: Ysaÿe, Eugène.
TITLE: Sonatas, violin, op. 27, no. 6.
IMPRINT: Brussels : Éditions Ysaÿe, 1924.
NOTES: A copy of the first edition of Sonata No. 6. The cover seems to be missing. There are no markings in the musical text.
Persinge box 2, folder 16
AUTHOR: Ysaÿe, Eugène.
TITLE: 3 cadences pour le concerto de Beethoven.
NOTES: A manuscript in ink and pencil, written on Schott Frères paper, probably in Persinger’s hand, of Ysaÿe’s cadenzas for the Beethoven Violin Concerto. The cadenza for the third movement is written on a separate sheet of oblong paper, signed by Persinger. Note that this version has many differences from the cadenzas edited by Philippe Newman and published by Éditions Ysaÿe (in 1966).
The title page has written on it: [in the upper right] Louis Persinger [and in the center] 3 Cadences [/] pour le concerto [/] de Beethoven. [/] composés [/] par [/] Eugène Ysaÿe [/] et [/] dediés à [/] Monsieur Michel Press. [/] 1906
Markings in pencil include fingerings as well as, on the second page, passages in pencil supplementing the part written out in pen. The third page has passages and sketches in pencil supplementing the cadenza written out in ink on the previous page. The cadenza for the third movement is written out on a loose oblong leaf. It has in pencil in the upper right: (Ysaÿe — 1906). There are markings in pencil and a supplementary passage written in pencil on the second page, and is signed in ink in the lower left of the second page: Louis Persinger [/] Godinne, 1906.
[Godinne was place of Ysaÿe’s summer home, “La Chanterelle.”]
Persinger box 2, folder 17
AUTHOR: Nardini, Pietro.
TITLE: Sonate en ré majeur pour violon solo et basse [Op. 2, No. 5] / harmonization of the figured bass by Eugène Ysaÿe.
IMPRINT: Brussels : Éditions Ysaÿe, 1924.
NOTES: Plate number: A.Y. 3444. On the cover is the stamp of Schott Frères with their 30 Rue Saint-Jean address in Brussels, suggesting that the score was acquired after the catalog of Éditions Ysaÿe was absorbed by Schott Frères. (Note that Schott Frères is no longer extant at the Rue Saint-Jean address; they have since been absorbed by Music Instruments Distribution, located across the Palais de Beaux-Arts). There are no markings in the score.
Persinger box 2, folder 18
AUTHOR: Saint-Saëns, Camille.
TITLE: Caprice d’après l’étude en forme de valse op. 52 no. 6 / pour violon avec accompagnement d’orchestre par Eugène Ysaÿe ; violin part with piano reduction.
IMPRINT: Paris : A. Durand & Fils, [19--]
NOTES: Two stamp impressions on the cover. One is: Alleinvertretung für Deutschland Otto Juune[?], 6. m.b.H. Leipzig. The other is: Durand & Cie. Prix nets en francs suisses. In the upper right in pencil is Persinger’s initials logo.
There are a few markings in pencil showing practical concerns (e.g. how a chord should be split between hands, pacing, phrasing etc.). There are no markings in the violin part.
Persinger box 2, folder 19
AUTHOR: Ysaÿe, Eugène.
TITLE: Amitié, poème no. 6 pour 2 violons et orchestre, op. 26 / violin parts with piano reduction.
IMPRINT: Brussels : Éditions Ysaÿe, 1927.
NOTES: Two copies of the above (i.e. two complete sets of the piano part and both violin parts). The work was dedicated to Theodore Lindenlaub (Ysaÿe’s life-long friend). Plate number: A.Y. 3446. Note that the title on the cover states that this is poem no. 6, but the title on the first page has “Poème (5e)” written.
One copy seems to be free of markings, but the other has markings in pencil on page 18, 20 of the piano score (which deal with cuts). There are no markings in the violin parts in either set.
Persinger box 2, folder 20
AUTHOR: Ysaÿe, Eugène.
TITLE: Deux Mazurkas de salon pour violon avec accompagnement de piano.
IMPRINT: Brussels : Schott Frères, [19--]
NOTES: The work is dedicated to Simon Weinberg. Plate number: S.F. 4210. Signed in ink on the upper right of the cover: Louis Persinger. There is a stamp on the lower right: Maison Beethoven [/] Georges Oertel [/] Musique-Pianos [/] Instruments en tous genres [/] Rue de la Régence 17/18 [/] Juste en face du Conservatoire [/] Bruxelles. Note that this shop is no longer extant.
The violin part is signed in ink in the upper right: Louis Persinger. There are several markings, in pencil, in the violin part, including some fingerings, bowings, and other markings. There are more markings in Mazurka no. 2. There are no markings in the piano score.
Persinger box 2, folder 21
AUTHOR: Ysaÿe, Eugène.
TITLE: Divertimento: fantaisie pour violon et orchestre, op. 24 / violin part with piano reduction.
IMPRINT: New York : Carl Fischer, 1921.
NOTES: Eugène Ysaÿe’s signature stamped in the lower left. The cover has Persinger’s signature in ink in the upper right. Stamped on the bottom is: Sheet Music [/] Henry Grobe [/] 135-153 Kearny St. The work is dedicated to Gabriel Ysaÿe (one of his sons). The catalog number is: S.F. 5594. The Russian copyright is noted as March 20, 1911. The copyright by Schott Frères is 1921. The violin part has the initials (not in logo) in ink, in the upper right: L.P. There are no markings in the piano score or the violin part.
Persinger box 2, folder 22
AUTHOR: Ysaÿe, Eugène.
TITLE: Extase, 4me poème pour violon et orchestre, op. 21 / violin part with piano reduction.
IMPRINT: New York : Carl Fischer, 1921.
NOTES: Eugène Ysaÿe’s signature stamped in the lower left. The cover has Persinger’s signature in ink in the upper right. Stamped on the bottom is: Sheet Music [/] Henry Grobe [/] 135-153 Kearny St. The work is dedicated to Mischa Elman. The catalog number is: S.F. 5596. The Russian copyright is noted as March 20, 1911. The copyright by Schott Frères is 1921. The violin part has in blue ink, in the upper right: Louis Persinger. There are no markings in the piano score or the violin part.
Persinger box 2, folder 23
AUTHOR: Ysaÿe, Eugène.
TITLE: Fantaisie, pour violon et orchestre, op. 32 / violin part with piano reduction.
IMPRINT: Brussels : Éditions Ysaÿe, 1927.
NOTES: Plate number: A.Y. 3457. The cover has in pencil, Persinger’s initials in logo in the upper right. On the inside cover it is noted that: Cet exemplaire imprimé par procédé [/] spécial d’électrogravure est sorti des [/] des [sic.] presses de [/] L’Imprimerie Nationale de Musique [/] G. RAMMAERT & Cie [/] 22a, rue de Chambéry, à Bruxelles. [/] le 2 Janvier 1927. On the first page of the piano score is an inscription: à Louis Persinger [/] avec mes meilleurs [/] souvenirs - [/] Très Cordialement [/] [signed] Jeannette Ysaÿe [/] 1955. (Note that Jeannette Ysaÿe née Dincin was Eugène Ysaÿe’s student who eventually became his second wife in 1927.)
There are some markings in pencil in the piano score, mainly accidentals and lines to aid in keeping track of the rhythm. There are no markings in the violin part.
Persinger box 2, folder 24
AUTHOR: Ysaÿe, Eugène.
TITLE: Les Neiges d’Antan! pour violon et orchestre de cordes, flûte et 2 cors, op. 23 / violin part with piano reduction.
IMPRINT: Brussels : Schott Frères, 1921.
NOTES: On the cover is a sticker with the logo and address of Éditions Ysaÿe which covers the address of Schott Frères. Eugène Ysaÿe’s signature is stamped in the lower left. The work is dedicated to Eugène Ysaÿe’s daughter Carry. The catalog number is: S.F. 5597. There are no markings in the piano score or violin part.
Persinger box 2, folder 25
AUTHOR: Ysaÿe, Eugène.
TITLE: Poème nocturne, poème no. 7, pour violon, violoncelle et orchestre, op. 29 / violin, cello part, and piano reduction.
IMPRINT: Brussels : Éditions Ysaÿe, 1927.
NOTES: There are no markings on the cover or first page. The work is dedicated to Albert Zimmer and Jacques Galliard. The catalog number is: A.Y. 3447. There are no markings in the violin part, cello part, or piano score.
Persinger box 2, folder 26
AUTHOR: Ysaÿe, Eugène.
TITLE: Six Sonates pour violon seul, op. 27.
IMPRINT: Brussels : Éditions Ysaÿe, 1924.
NOTES: Note that this is not the version of the Six Sonates published and bound as a set. The contents seem to be the sonatas in their initial printing. The cover used is that belonging to Sonata No. 1. The cover title states in the upper left: Six Sonates [/] pour violon seul [/] 1re sonate en sol mineur. In the upper right, in pencil, is Persinger’s signature. Curiously, in this set, Sonata No. 3 is missing.
The last movement (Finale) of Sonata No. 4 has several fingerings and alterations in pencil. For the most part, the alterations do not match up with the revisions found in the edition published as a set nor Ysaÿe’s handwritten revisions of that final published version (by Éditions Ysaÿe).
Persinger box 2, folder 27
AUTHOR: Ysaÿe, Eugène.
TITLE: 4me Sonate en mi mineur, op. 27 no. 4.
IMPRINT: Brussels : Éditions Ysaÿe, 1924.
NOTES: In the upper right of the cover, in pencil, is Persinger’s signature. This copy has numerous markings (including, bowings, fingerings, matters of pacing) in pencil. The markings are not in Ysaÿe’s hand and are perhaps Persinger’s own suggestions. Note that this copy has many more markings than the copy of Sonata No. 4 found in Persinger box 2 folder 26 (Eugène Ysaÿe, Sonatas, violin, Op. 27). The few markings in the last movement as found in Persinger box 2, folder 26 (Eugène Ysaÿe, Sonatas, violin, op. 27) resemble the markings here (though there are many more markings in this copy).
Persinger box 2, folder 28
AUTHOR: Ysaÿe, Eugène.
TITLE: 6me Sonate en mi majeur, op. 27 no. 6.
IMPRINT: Brussels : Éditions Ysaÿe, 1924.
NOTES: Juilcat call number: 15 Y89so op.27 no.6 Ysaÿe proof
A white on blue galley copy of the above. On the cover, in red ink, in the upper right is: (Pour envoyer à Quiroga) [i.e. To send to Quiroga; Manuel Quiroga, is the dedicatee of this sonata]. On page 4 is a marking (probably in Ysaÿe’s hand) in red ink showing that the bottom note G in line 2 measure 1 is a G-natural.
Persinger box 2, folder 29
AUTHOR: Chasins, Abram.
TITLE: Flirtation in a Chinese garden; arranged.
NOTES: A manuscript, dated February, 1943, probably in Persinger’s hand, in dark blue ink and pencil, of Persinger’s arrangement for violin and piano, of Abram Chasins’ Flirtation in a Chinese Garden, op. 5 no. 2. The violin part is written on G. Schirmer Imperial Brand No. 2 — 12 Staves paper. The piano part is written on G. Schirmer Imperial Brand No. 21 — 12 Staves paper. At the end of the piano part is Persinger’s logo with the date: Feb. 1943.
SEE ALSO: Persinger box 4, folder 7.
Persinger box 2, folder 30
AUTHOR: Chasins, Abram.
TITLE: Flirtation in a Chinese garden; arranged.
NOTES: Another manuscript of the same piece as that found in the previous folder. It is in dark blue ink, and is probably in Persinger’s hand. Although undated and unsigned, this clean copy suggests it was written after the copy found in the previous folder. The violin part is written on G. Schirmer Imperial Brand No. 2 — 12 Staves paper. The piano part is written on G. Schirmer Imperial Brand No. 21 — 12 Staves paper. The title page/cover is written on G. Schirmer Imperial Brand No. 9 — 12 Staves with Braces paper.
SEE ALSO: Persinger box 4, folder 7.
Persinger box 2, folder 31
AUTHOR: Chasins, Abram.
TITLE: Rush hour in Hong Kong; arranged.
NOTES: A manuscript, dated February, 1943, probably in Persinger’s hand, in dark blue ink and pencil, of Persinger’s arrangement for violin and piano, of Abram Chasins’ Rush Hour in Hong Kong, op. 5 no. 1. The violin part is written on G. Schirmer Imperial Brand No. 2 — 12 Staves paper. The piano part is written on G. Schirmer Imperial Brand No. 21 — 12 Staves paper. At the end of the piano part is Persinger’s initials in logo form with the date: Feb. 1943.
SEE ALSO: Persinger box 4, folder 8.
Persinger box 2, folder 32
AUTHOR: Gabriolowitsch, Ossip.
TITLE: Melodie; arranged.
NOTES: A manuscript/sketch in pencil and dark blue ink, probably in Persinger’s hand. It is undated, unsigned, and appears to be incomplete. Although a violin and piano part is listed, only the violin part seems to have been worked out to some degree.
SEE ALSO: Persinger box 4, folder 13.
Persinger box 2, folder 3
TITLE: Liza Jane medley.
NOTES: A manuscript with the title: - Liza Jane – Medley. It is in black ink and is not in Persinger’s hand. It is written on “The House of Hits” No. 4 — 12 lines paper. There is a solo voice/treble instrument part and piano part, but only the piano part is given.
Persinger box 2, folder 34
AUTHOR: Ornstein, Leo.
TITLE: Musique de circonstances, op. 123456789.
NOTES: A manuscript in pencil, perhaps in Ornstein’s hand. The title page has written: Leo Ornstein [/] (Musique de circonstance, op. 123456789) [/] Dedié a mes chères élèves [/] Jeanne [?] et Paulette [/] East Broadway, New York [/] 1918. There are small drawings of butterflies near the top of the page. The title above the music is: Quintet. The staff paper has a treble part + piano brace already printed, but it seems the music written is for solo violin. The paper used is Mozart Brand No. 4.
Persinger box 2, folder 35
AUTHOR: Persinger, Louis.
TITLE: Metronomic nightmare (sketches).
NOTES: A number of very crammed and convoluted sketches (for a piece probably for violin and piano), in blue ink and pencil, probably in the hand of Persinger. Four types of paper are used: G. Schirmer Imperial Brand No. 9 — 12 Staves with Braces; B.F.W. The B.F. Wood Music Co., Boston, London, No. 4; Monarch Brand, Carl Fischer, New York, No. 3; G. Schirmer Royal Brand No. 54 — 12 Staves. The title page has a number of titles written and crossed out, but it seems the main title was to have been Perpetual Motion and the secondary title was to be Metronomic Nightmare. It seems the work was to be dedicated to The Juilliard Cafeteria. The title page has, in pencil, Persinger’s logo and the date 1945. On one page is written (accompanied by many cross-outs): Started this absurdity [/] on May 5th 1945! [/] continued + finished (?!!) in late [/] Dec., 1958.
Persinger box 2, folder 36
AUTHOR: Persinger, Louis.
TITLE: Song without words.
NOTES: A manuscript of two short works for piano/keyboard in black ink, in the hand of Persinger. The two works are: Song without Words; Lullaby. Song without Words is dated: Brussels, [/] Oct. 24th, [/] 1907. Lullaby is dated: Brussels, [/] Oct. 25th ‘07. In the upper right is Persinger’s signature. The manuscript is written on paper from Schott Frères.
Persinger box 3, folder 1
AUTHOR: Bach, Johann Sebastian.
TITLE: Air, Extrait de l’ouverture en Ré [BWV 1068] / arranged for violin and piano or organ by Eugène Ysaÿe.
IMPRINT: Brussels : Éditions Ysaÿe, 1926.
NOTES: Plate number: A.Y. 3388. One marking in pencil (a natural accidental in parentheses on the last staff) in the violin part. No markings in the piano score. The title page has the stamp of Schott Frères.
Persinger box 3, folder 2
AUTHOR: Chopin, Frederic.
TITLE: Valse en mi mineur [op. posth., E minor] / arranged for violin and piano by Eugène Ysaÿe.
IMPRINT: Brussels : Éditions Ysaÿe, 1926.
NOTES: Series: Répertoire Classique et Moderne du Violon: 2. Plate number: A.Y.3453. Louis Persinger’s initials in logo form, in pencil, are on the upper right of the cover and the violin part. There are no markings in the violin part or piano score.
SEE ALSO: Persinger box 5, folder 17.
Persinger box 3, folder 3
AUTHOR: Locatelli, Pietro Antonio.
TITLE: Sonate en fa Mineur “Le Tombeau” [Op. 6, No. 7] pour violon / revised and harmonized on the figure bass of Locatelli by Eugène Ysaÿe..
IMPRINT: Brussels : Éditions Ysaÿe, 1928.
NOTES: Series: Répertoire Classique et Moderne du Violon: 6. Plate number: A.Y. 3413. Note that in the introductory note, Ysaÿe explains that he has given the title “Le Tombeau” [The Grave] to “susciter de l’oeuvre l’interpretation la plus juste” [arouse a most appropriate interpretation of the work]. The note is dated (in print): Le Zoute, 13 Avril 1928. There are no markings in the violin part or piano score.
Persinger box 3, folder 4
AUTHOR: Pasquali, Nicolo.
TITLE: Sonate en la mineur, pour violon solo et basse / harmonized on the figure bass of Pasquali by Eugène Ysaÿe.
IMPRINT: Brussels : Éditions Ysaÿe, 1928.
NOTES: Series: Répertoire Classique et Moderne du Violon: 5. There is what seems to be a name (Gia?)in the upper right, in pencil. There is a stamp on the bottom of the cover: O. Flaschner Music Co. [/] 4 West 43rd Street, New York, N.Y. There are no markings in the violin part or piano score.
Persinger box 3, folder 5
AUTHOR: Pasquali, Nicolo.
TITLE: Sonate en la mineur, pour violon solo et basse / harmonized on the figure bass of Pasquali by Eugène Ysaÿe.
IMPRINT: Brussels : Éditions Ysaÿe, 1928.
NOTES: Series: Répertoire Classique et Moderne du Violon: 5. Another copy of the score as in the entry above. The cover as well as the first page of the violin part has, in the upper right, in pencil, Persinger’s initials in logo form. There is a stamp, (different in style and address from the one as found in the previous entry) on the lower right of the cover: O. Flaschner Music Co. [/] 8 West 43th [sic.] St. [/] New York, N.Y.
There is a marking in pencil (slash) on page 5 of the violin part.
There are markings in pencil (accidentals and a revision of a note) on page 20 and 21 of the piano score.
The back cover, which lists a commercial catalog of Ysaÿe’s works, has some markings in pencil next to several works.
Persinger box 3, folder 6
AUTHOR: Rameau, Jean-Philippe.
TITLE: Pièces de clavecin / edited and adapted for the violin and piano by Eugène Ysaÿe.
IMPRINT: Brussels : Éditions Ysaÿe, 1927.
NOTES: Series: Répertoire Classique et Moderne du Violon: 15. On the cover, in pencil, an ‘accent grave’ is added above the ‘e’ in ‘pieces.’ The stamp of Schott Frères is stamped above the mark of Éditions Ysaÿe. There are no markings in the violin part or piano score. Perhaps worth remarking is that unlike the other scores, the inside cover has printed: Cette adaptation a été jouée pour la première fois [/] par Mademoiselle Viola MITCHELL [/] à la cour de Belgique. Hiver 1927. [This adaptation was performed for the first time by Miss Viola Mitchell at the Belgian court. Winter 1927.] [trans. Ray Iwazumi]
Persinger box 3, folder 7
AUTHOR: Ysaÿe, Eugène.
TITLE: Au Rouet, 2me poème pour violon et orchestre, op. 13 / violin part with piano reduction.
IMPRINT: Brussels : Schott Frères, 1921.
NOTES: Plate number: S.F. 5595. Eugène Ysaÿe’s stamp in the lower left. The work is dedicated to Miss Maud Delstanche. There are no markings in the violin part or piano score.
Persinger box 3, folder 8
AUTHOR: Ysaÿe, Eugène.
TITLE: Berceuse pour violon et orchestre de cordes, flûte et 2 cors, op. 20 / violin part with piano reduction.
IMPRINT: Brussels : Schott Frères, 1921.
NOTES: Plate number: S.F. 5600. Eugène Ysaÿe’s stamp in the lower left. The work is dedicated to Mrs. Rosa Harris. There is a printed inscription on the first page of the piano score: L’Enfant pauvre et chétif tristement s’endormait... [The poor and sickly child sorrowfully went to sleep . . .][trans. Ray Iwazumi] There are no markings in the violin part or piano score.
Persinger box 3, folder 9
AUTHOR: Ysaÿe, Eugène.
TITLE: Cadences pour le Concerto pour violon No. 3 (sol majeur) de W. A. Mozart (KV 216).
IMPRINT: Brussels : Cinédisc-Music, 1956.
NOTES: Note that this is a version prior to the one edited by Persinger and published in 1967. In blue ink, in the upper right is an inscription by Antoine Ysaÿe: A Louis Persinger [/] Hommage de sympathie [/] et d’admiration. [/] [signed] A. Ysaÿe [/] 5/1957. [To Louis Persinger, An homage of friendship and admiration. A.[ntoine] Ysaÿe May 1957.] [trans. Ray Iwazumi] In a different blue ink, in the lower right is a note by Persinger: Why all the mistakes? — [/] (Quite aside from the very obvious ones!) [/] L.P. [in logo form]. There are an abundance of corrections to the text, ranging from minute corrections of spelling and capitalization to matters of notes, performing indications etc. The back cover has several names in blue ink and pencil.
There are many corrections, in blue ink and pencil throughout. Most of the corrections are concentrated in the cadenza to the first movement. Notably, the remarks are in Italian or French, with no English. Again, note that Persinger edited the edition of these cadenzas published by Éditions Ysaÿe in 1967.
Persinger box 3, folder 10
AUTHOR: Ysaÿe, Eugène.
TITLE: Mazurka No. 3 in B minor / edited and fingered by D. C. Dounis.
IMPRINT: New York : Mills Music, Inc., 1946.
NOTES: There are pencil markings denoting accents in Ysaÿe’s name, both on the outside and inside cover and on the first page of music in the piano score. Otherwise, there are no markings in either the violin part or the piano score.
Persinger box 3, folder 11
AUTHOR: Ysaÿe, Eugène.
TITLE: 10 Préludes pour violon solo, op. 35 / reconstructed based on the manuscripts of Eugène Ysaÿe by Charles Radoux Rogier and fingered by Henri Koch.
IMPRINT: Brussels : Schott Frères, 1952.
NOTES: Plate number: S.F. 8905. Note that this edition has on pages 3 and 4, a facsimile of the sketches for Prélude No. 6. There are no markings in the score.
Persinger box 3, folder 12
AUTHOR: Ysaÿe, Eugène.
TITLE: Rêve d’Enfant, pour violon avec accompagnement d’orchestre réduit ou de piano, op.14 / violin part and piano score.
IMPRINT: London: Enoch & Sons, 1901.
NOTES: The work is dedicated to Ysaÿe’s son, Antoine. On the cover, at the top, in pencil, is written: London, – 11 – 6 – 07. On the cover, in the upper right, is Persinger’s signature (with middle initial) in black ink. The violin part has written on the outside cover, in pencil, near the top: London, – 11 – 6 – 07. The violin part has written on the outside cover, in the upper right, Persinger’s signature (with middle initial) in black ink. There are numerous markings in pencil in the violin part as well as the piano score.
On the inside cover, which is the first page of music in the piano score, in the upper right is a remark in pencil, probably in Persinger’s hand. Unfortunately the remark is cut off on the top and right, creating uncertainties in what is written. Probably, the text should read: This is not t[he] [/] [d]ream of a child i[n the] [/] [sens]e of someone sleeping. [/] [Rath]er the child, who sees his [/] [w]hole development etc.
The markings in pencil throughout deal with fingerings, bowings, performing instructions etc. Note that English and French is used in the violin part, but only French and Italian is used in the piano score.
Persinger box 3, folder 13
AUTHOR: Ysaÿe, Eugène.
TITLE: Six Sonates pour violon seul, op. 27.
IMPRINT: Brussels : Schott Frères, 1924.
NOTES: This is the edition of the sonatas, published as a set. There are numerous markings in pencil (mostly fingerings, bowings), possibly in Persinger’s hand, for Sonata No. 3. There is one marking, in pencil, for an accidental near the end of the first movement of Sonata No. 4. There are some markings, in pencil (fingerings, notes, and accidentals), for the third movement of Sonata No. 4.
Persinger box 3, folder 14
AUTHOR: Ysaÿe, Eugène.
TITLE: Trio de Concert (en une partie) pour deux violons & alto.
NOTES: Parts only. This is perhaps a publisher’s proof, noting the lack of publisher’s information, the smears of carbon, and the accordion-style paper. Note that it is in one movement (as the title suggests in parentheses) and that the original version of this movement comes from the first movement of Eugène Ysaÿe’s Sonata for two violins, op. posth., a work which he had composed in England during World War I.
All parts are signed, in black ink, with Persinger’s initials in logo form in the upper right. Each part is labeled in black ink. Note that Violin 1 and 2 are not labeled in print on the first page, but the Viola part is (as Alto). All parts are labeled after their first page. Violin 1 is labeled as 1o Violon. Violin 2 is labeled as 2a Violon. There are numerous markings in all parts, seemingly all (curiously) in black ink. In each part, underneath the title, is noted in black ink: (Op. 35)
Persinger box 3, folder 15
AUTHOR: Ysaÿe, Eugène.
TITLE: Trio de Concert (en une partie) pour deux violons & alto.
NOTES: Materially seemingly identical to the previous entry (please see the description for the entry above). However, there are no markings in this copy. This is a complete set with all three parts.
Persinger box 3, folder 16
AUTHOR: Ysaÿe, Eugène.
TITLE: Trio de Concert (en une partie) pour deux violons & alto.
NOTES: Materially identical to the previous entry (i.e. folder 15). Please see the description for ( Persinger box 3, folder 14 Eugène Ysaÿe, Trio de concert c. 1). There are no markings in this copy. This is a complete set with all three parts.
Persinger box 3, folder 17
AUTHOR: Ysaÿe, Eugène.
TITLE: Trio de concert, violin 1
NOTES: A duplication master of the violin 1 part of the Trio de concert. (Please see previous three entries.) Noteheads are black on the first page, and are brown from the second page on. The first page is torn and taped together and many pages have edges cut off. Some pages have small holes. Some pages have pencil markings that possibly note the position of how the pages should be bound and printers marks on the bottom left of the page.
Persinger box 3, folder 18
AUTHOR: Ysaÿe, Eugène.
TITLE: Trio de concert, violin 2
NOTES: A duplication master of the violin 2 part of the Trio de concert. (Please see the entries for Persinger box 3, folders 14 – 16.) Noteheads are brown. The first page is torn and taped together and many pages have edges cut off. Some pages have small holes. Some pages printers marks in pencil on the bottom left of the page.
Persinger box 3, folder 19
AUTHOR: Ysaÿe, Eugène.
TITLE: Trio de concert, viola
NOTES: A duplication master of the viola part of the Trio de concert. (Please see the entries for Persinger box 3, folders 14 – 16.) Noteheads are brown. The first page is torn and taped together and many pages have edges cut off. Some pages have small holes. Some pages printers marks in pencil on the bottom left of the page.
Persinger box 3, folder 20
AUTHOR: Ysaÿe, Eugène.
TITLE: Paganini Variations, op. posth. [Variations sur un thème de Paganini] / arranged by Jacques Ysaÿe.
IMPRINT: England: Boosey & Hawkes, 1960.
NOTES: (Note that there is a string orchestra version of this work, also arranged by Jacques Ysaÿe, but I believe there is no violin solo and orchestra version of this work as the folder title suggests. The ‘arrangement’ perhaps refers to Jacques Ysaÿe’s work as an editor in reconstructing this work.) This is a work written in Ysaÿe’s younger years which he seems to have played often. The published score is a reconstruction and arrangement made by Eugène Ysaÿe’s grandson, Jacques Ysaÿe. The catalog number is B.&H. 18760. The cover has the stamp “COMPLIMENTARY” blocked out with a black marker. In the upper left is written, in pencil, (perhaps in Jacques Ysaÿe’s hand?): Mr. Persinger. There are no markings in either the violin part or piano score.
Persinger box 4, folder 1 TITLE: Louis Persinger, violinist
NOTES: A pamphlet/press kit of Louis Persinger designed for U.S. promotion. It contains a short biography as well as quotes from reviews in Europe and the U.S. There are no dates mentioned anywhere, but the pamphlet was probably written around 1913, after Persinger had returned to the U.S. from studies in Europe in 1912 and before he accepted the concertmaster position with the Berlin Philharmonic Orchestra under Arthur Nikisch in 1914.
Persinger box 4, folder 2
AUTHOR: Brahms, Johannes.
TITLE: Variation on Paganini caprice op. 1 no. 24, Version 1 / arr. Vittorio Giannini.
NOTES: (The folder states ‘version1,’ but should more accurately be ‘book 1’ since this is an arrangement for violin and piano of the Brahms “Variations on a theme of Paganini” Book 1.)
A manuscript facsimile of an arrangement for violin and piano by Giannini (?) [Vittorio Giannini (1903 – 1966 )] of Brahms’ “Variations on a theme of Paganini” Book 1. There are pencil corrections and revisions. The many pencil corrections/suggestions regarding notes, bowings, fingerings etc. are most likely in the hand of Persinger. The original manuscript may be in the hand of Giannini. The original paper used is G. Schirmer No. 2 – 12 Staves, and may have been reproduced by Circle Blue Print Co. Inc. Note that Giannini was on the faculty of The Juilliard School since 1939, and that Persinger was on the faculty of The Juilliard School since 1930.
There are two separate pages. One found between Variation 10 and 11, and the other found between the reverse side of the last pages. The page found between Variations 10 and 11 is a remark and sketch concerning Variation 11. The page found between the reverse side of the last pages is a sketch regarding the last variation. These two loose pages are probably in the hand of Persinger. Note that there are also algebraic calculations found on the reverse side of the second page. This is possibly in the hand of Giannini.
Note that Variation 9 is not included in this arrangement.
Persinger box 4, folder 3
AUTHOR: Brahms, Johannes.
TITLE: Variations on Paganini caprice op. 1 no. 24, Version II / arr. Vittorio Giannini.
NOTES: (The folder states ‘version II,’ but should more accurately be ‘book II’ since this is an arrangement for violin and piano of the Brahms “Variations on a theme of Paganini” Book 2.)
A manuscript facsimile of an arrangement for violin and piano by Giannini (?) [Vittorio Giannini (1903 – 1966 )] of Brahms’s “Variations on a theme of Paganini” Book 2. There are pencil and rose colored pencil corrections and revisions. The many pencil corrections/suggestions regarding notes, bowings, fingerings etc. which are most likely in the hand of Persinger. The original manuscript may have been in the hand of Giannini. The original paper used is Schirmer 12 Staves, and may have been reproduced by Circle Blue Print Co. Inc.
Variation 13 is arranged to segue into an substantial cadenza (for violin solo) which then concludes with a short coda with piano.
Variation 3 is on a loose sheet found between Variations 1 and 2.
Persinger box 4, folder 4
AUTHOR: Bach, Johann Sebastian.
TITLE: Six Sonatas and Partitas for solo violin, BWV 1001 – 1006. Sonata I.
IMPRINT: Berlin : Ed. Bote & G. Bock, 1908.
NOTES: Pages for just the Sonata in g minor, BWV 1001, taken from what appears to be There are many markings in pencil and black ink (regarding fingerings, bowings, and other matters of interpretation) with one instance of blue ink. Publisher’s information is crossed-out in pencil, and in the upper right of the first page of music is written in ink: Johann Sebastian Bach [/] Edited by Louis Persinger
SEE ALSO: Persinger box 4, folders 22, 26, 27, 28.
SEE ALSO: Persinger box 9, folder 6.
Persinger box 4, folder 5
AUTHOR: Barthelemy, Richard.
TITLE: Neapolitan Song / arranged by Louis Persinger.
IMPRINT: New York : Carl Fischer, 1930.
NOTES: The music is dedicated to Ruggiero Ricci. Only the violin part is found here, although there should also be a piano score as well. The music is a folded leaf and there is a stain down the upper half of the spine. There is also a tear on page 3.
SEE ALSO: Persinger box 5, folders 35, 36, and 37; Box 6, folder 4.
Persinger box 4, folder 6
AUTHOR: Beethoven, Ludwig van.
TITLE: Concerto, violin, op. 61.
NOTES: Solo violin part to the Beethoven Violin Concerto (Edition Peters) with copious pencil and ink markings and written remarks. It is stamped “Louis H. Persinger” in the upper right corner. It has been previously cataloged with a commentated note card. As noted in the note card, Persinger culls the fingerings and performance indications of Heinrich Dessauer and Ysaÿe.
Persinger box 4, folder 7
AUTHOR: Chasins, Abram.
TITLE: Flirtation in a Chinese Garden: from Three Chinese Pieces, Op. 5.
IMPRINT: New York : J. Fischer & Bro., 1925.
NOTES: Numerous markings in pencil and pen in the hand of Persinger (although there is no signature). Apparently Persinger wished to make a transcription of this short piano work for violin and piano and the various markings point to his thoughts toward this end. (Please see Persinger box 2, folder 31 and 32 for manuscripts of his transcription of this work.)
SEE ALSO: Persinger box 2, folders 29 and 30.
Persinger box 4, folder 8
AUTHOR: Chasins, Abram.
TITLE: Rush Hour in Hong Kong: from Three Chinese Pieces, Op. 5.
IMPRINT: New York : J. Fischer & Bro., 1925.
NOTES: Numerous markings in pencil and pen in the hand of Persinger (although there is no signature). Apparently Persinger wished to make a transcription of this short piano work for violin and piano and the various markings point to his thoughts toward this end. (Please see Persinger box 2, folder 31 for a manuscript of his transcription of this work.)
Persinger box 4, folder 9
AUTHOR: Persinger, Louis
TITLE: “We belong to the little blue. . .”
NOTES: A manuscript of a student song by Persinger, in blue ink. It is a clean copy except for a few marks indicating revisions. The paper used is: G. Schirmer Style No. 9 — 12 Staves with Braces. It is signed (in logo form) with a remark at the end: L.P. [/] New York [/] Nov. 28th, 1936. [/] Barber shop chords and [/] harmonic mistakes in the [/] spirit of the times!!
Persinger box 4, folder 10
AUTHOR: Persinger, Louis
TITLE: “We belong to the little blue. . .” sketches
NOTES: A sketch in pencil for the work as found in the previous entry. The paper used is: G. Schirmer Style No. 9 — 12 Staves with Braces.
Persinger box 4, folder 11
AUTHOR: Persinger, Louis
TITLE: Chausson: Suggestions for performance
NOTES: A loose half-letter size sheet in blue ink, in Persinger’s hand, titled “Chaussson. Suggestions for performance.” There are suggestions for both the violin solo and the orchestra/piano part of Chausson’s Poème, Op. 25 The comments combine subjective and practical aspects (e.g. “a certain suppressed (?) excitement in the tone, at the beginning (fingerboard)”).
Persinger box 4, folder 12
AUTHOR: Cohen, Nellie.
TITLE: Lullaby
NOTES: A manuscript in black ink of a Lullaby, dedicated to “Louis Persinger jr. and his baby brother,” composed by Nellie Cohen. There is one light marking in pencil “morendo” on the last page. There are also some scratch-outs throughout.
Persinger box 4, folder 13
AUTHOR: Gabrilowitsch, Ossip.
TITLE: Melodie, op. 8, no. 1; arranged.
NOTES: A manuscript in dark blue ink with some fingerings and markings in pencil, probably in Persinger’s hand. There is some water damage and some of the ink is smeared. This is an arrangement for violin and piano by Persinger of Ossip Gabrilowitsch’s Melodie, Op. 8 no. 1. The paper used is G. Schirmer, Inc., Style No. 9 — 12 Staves with Braces.
SEE ALSO: Persinger box 2, folder 32.
Persinger box 4, folder 14
AUTHOR: Senaillé, Jean Baptiste.
TITLE: Allegro
NOTES: The Allegro spiritoso from the Sonata for violin and continuo, 2e livre, no. 5 by Jean Baptiste Senaillé. A manuscript on one sheet, written on both sides in pencil, probably in Persinger’s hand. The handwriting suggests haste. The paper used is Carl Fischer, Monarch Brand, No. 4 — 12 lines.
Persinger box 4, folder 15
AUTHOR: Percy Grainger
TITLE: Irish tune from county Derry; arranged. sketches
NOTES: A manuscript sketch in black ink, not in Persinger’s hand, titled, “Very Rough sketch or hints for Irish Tune from Country Derry. set for string orchestra by Percy Grainger arranged for string quartet by [sic.].” It is on two sheets with two different handwritings. One sheet is GSNY No. 1 paper and the other is on Beethoven papier No. 11 (used upside down).
Persinger box 4, folder 16
AUTHOR: Hahn, Reynaldo.
TITLE: L’Heure exquise (The Enchanted Hour).
IMPRINT: New York : G. Schirmer, Inc., 1911.
NOTES: A song for voice and piano, with comments in pencil in Persinger’s hand that suggest thoughts for transcribing this work (to most likely violin and piano).
Persinger box 4, folder 17
AUTHOR: Kreutzer, Rodolphe
TITLE: Etude XXXVI for piano
NOTES: A manuscript sketch in pencil, apparently a piano part to Kreutzer Etude No. 36, most likely in Persinger’s hand. It is in a rough outline — all repetitions are just noted as such. Interestingly, the annotations are in German.
SEE ALSO: Persinger box 3, folder 2.
Persinger box 4, folder 18
AUTHOR: Mompou, Federico.
TITLE: Cançó i Dansa / edited by Paul Kay.
IMPRINT: Providence, R. I.: Music-Art Publications, 1939.
NOTES: The work is Cançó i Dansa No. 1. There are many annotations in pencil, in the hand of Persinger, that suggest an intention to transcribe this work. (Note that this copy is an edition that does not have barlines marked.)
Persinger box 4, folder 19
AUTHOR: Mompou, Federico.
TITLE: Cançó i Dansa; arranged.
NOTES: A manuscript of a transcription for violin and piano of Mompou’s Cançó i Dansa (No. 1) (i.e. the music in the previous folder) in dark blue ink and pencil (used for a question mark on the first page), probably in the hand of Persinger. Only the violin part is transcribed. The manuscript is unsigned and is on G. Schirmer Style No. 9 — 12 Staves with Braces paper. Note that the upper left of the first page is damaged and is stuck with the following page.
Persinger box 4, folder 20
AUTHOR: Mompou, Federico.
TITLE: Cançó i Dansa; arranged.
NOTES: A manuscript of a transcription for violin and piano of Mompou’s Cançó i Dansa (No. 1) (see also previous two folders) in dark blue ink and pencil, probably in the hand of Persinger. Unlike the previous folder, this is a full piano score. The manuscript is unsigned. The many remarks and notes in pencil show that this manuscript is a working draft — remarks range from musical decisions in transcription to matters of fingerings and bowings. The paper used is G. Schirmer Imperial Brand No. 21 — 12 Staves.
Persinger box 4, folder 21
AUTHOR: Mompou, Federico.
TITLE: Cançó i Dansa; arranged.
NOTES: A manuscript of a transcription for violin and piano of Mompou’s Cançó i Dansa (No. 1) (see also previous three folders) in dark blue ink and pencil (used for a question mark on the first page), probably in the hand of Persinger. This is a clean copy. The paper used is G. Schirmer Imperial Brand No. 21 — 12 Staves.
Persinger box 4, folder 22
AUTHOR: Persinger, Louis.
TITLE: The Bach sonatas and partitas for solo violin, Foreword.
NOTES: A typewritten “Foreword” to “The Bach Sonatas and Partitas for solo violin” by Louis Persinger. On two pages, there are also annotations in blue ink. Persinger discusses the confusion brought by various artists claiming to know how Bach should be played, and proposes that no single school of thought can possibly be considered to hold the musical truth.
SEE ALSO: Persinger box 4, folders 4, 26, 27, 28.
SEE ALSO: Persinger box 9, folder 6.
Persinger box 4, folder 23
AUTHOR: Persinger, Louis.
TITLE: A bagatelle.
NOTES: A manuscript in pencil of Persinger’s “A Purloined Bagatelle” for violin and piano. It is signed at the end: L.P. [/] San Rafael. 1924. The work is apparently based on themes taken from other composers — hence the title. Persinger, makes note of this point with humor. The paper used is: The B.F. Wood Music Co., No. 4.
Persinger box 4, folder 24
AUTHOR: Persinger, Louis.
TITLE: Bagatelle. Sketches.
NOTES: A manuscript sketch written on two sides of a single sheet, in pencil, in Persinger’s hand, for Persinger’s own “Bagatelle” (see also the previous folder).
Persinger box 4, folder 25
AUTHOR: Persinger, Louis.
TITLE: Cadenza.
NOTES: A manuscript of four passages. Three passages have a key signature of two flats and are based on a dominant seventh with a root of F. The fourth passage is in pencil with three flats and in E-flat major. The passages appear to me cadenzas, but it is not known, for which work. The reverse side has a chords sketched in pencil.
Persinger box 4, folder 26
AUTHOR: Persinger, Louis.
TITLE: D minor Sonata (Partita II) (Sonata no. 4, D minor); suggestions for performance.
NOTES: Three sheets of notes, both text and musical examples, in black ink, in Persinger’s hand on suggestions for performance of Bach’s Partita in d minor for solo violin. The first page has in the upper left corner, Persinger’s signature in logo form. The notes make suggestions in musical approach as well as technical matters. There are several shorthand abbreviations (e.g. M1, C2, etc.) that are not clearly explained here (N.B. see the following entry). Also, the notes refer to certain sections without a clear indication of where these sections may be.
SEE ALSO: Persinger box 4, folders 4, 22, 27, and 28.
SEE ALSO: Persinger box 9, folder 6.
Persinger box 4, folder 27
AUTHOR: Persinger, Louis.
TITLE: G minor sonata: suggestions for performance ... other eds.
NOTES: Two sheets of notes, both text and musical examples, typewritten and handwritten in black ink, in Persinger’s hand on suggestions for performance of Bach’s Sonata in g minor for solo violin. The notes compare the editions of others (i.e. Joachim; Marteau; Hubay; Capet; Flesch; Busch) and make suggestions in musical approach as well as technical matters. There are several shorthand abbreviations (e.g. M1, C2, etc.) that apparently refer to the edition the suggestion comes from (i.e. (J) for Joachim, (M) for Marteau, etc.). These notes also refer to certain sections.
SEE ALSO: Persinger box 4, folders 4, 22, 26, 28.
SEE ALSO: Persinger box 9, folder 6.
Persinger box 4, folder 28
AUTHOR: Persinger, Louis.
TITLE: G minor sonata: suggestions for performance.
NOTES: Two sheets of typewritten notes with blue ink. The notes give suggestions for performing the Bach g minor sonata for solo violin. The numbered comments correspond to certain sections as noted in the annotated copy of a printed edition found in Persinger box 4, folder 4. The suggestions range from matters of style as well as technical solutions.
SEE ALSO: Persinger box 4, folders 4, 22, 26, 27, and Persinger box 9, folder 6
Persinger box 4, folder 29
AUTHOR: Persinger, Louis.
TITLE: Metronomic nightmare (perpetual motion)
NOTES: A piano score and separate violin part manuscript of Persinger’s “Metronomic Nightmare (Perpetual Motion).” It is in blue ink, in Persinger’s hand, and written on G. Schirmer Royal Brand No. 58 — 12 Staves paper. The manuscript is a clean copy except for a few signs of revision. A farcical work, thematic snippets from composers ranging from Kreutzer to Wagner are freely incorporated. Persinger maintains a humorous tone by acknowledging his sources on the last written page. The title page of the piano score states: To the Juilliard Cafeteria [/] METRONOMIC NIGHTMARE [/] (Perpetual Motion) [/] For Violin and Piano [/] Louis Persinger [/] Started on May 5th, 1945. [/] Continued and Finished (?) [/] in late December, [/] 1958. [/] N.Y.C. The title page of the violin part is similar.
SEE ALSO: Persinger box 2 folder 35 (Louis Persinger, Metronomic nightmare (sketches)).
Persinger box 4, folder 30
AUTHOR: Persinger, Louis.
TITLE: [Sketch.]
NOTES: A short sketch, in black ink, in Persinger’s hand, of a cadenza fragment to the Tchaikovsky Violin Concerto. There is a note near the end “(Piastro?)” possibly referring to Michel Piastro. The paper used is: S.C. & Co. No. 511.
Persinger box 4, folder 31
AUTHOR: Persinger, Louis.
TITLE: Sketches.
NOTES: Three pages of sketches in pencil on B.F. Wood Music Co. No. 4 paper. There are several comments that seem to point to another manuscript or score.
Persinger box 4, folder 32
AUTHOR: Persinger, Louis.
TITLE: [Untitled, violin & piano]
NOTES: A manuscript of a short piece for violin and piano, in blue ink and pencil, in the hand of (young) Persinger. Persinger’s name is stamped in the upper right corner. There are revisions in pencil. It is signed at the end: Louis H. Persinger [/] Monday. Oct. 5th 1903. [/] Leipzig.
Persinger box 5, folder 1
AUTHOR: Persinger, Louis.
TITLE: Concerning the violin and violin playing
NOTES: A typewritten manuscript with pencil and ink annotations of the book published under the title “Why the Violin?”
Persinger, Louis. Why the Violin? Massapequa, N.Y.: Cor Publishing Co., 1965.
The title page of the manuscript states: (Concerning) [/] The [/] Violin [/] And [/] Violin Playing [/] Louis Persinger. Underneath the name, in pencil is his address, and in the lower left corner in black and blue ink is: Suggested Title: [/] X Why the Violin? [/] or [/] The Violin, Why? [/] or [/] Violin Notes [/] And [/] Violin Playing.
Persinger box 5, folder 2
AUTHOR: Khachaturian, Aram.
TITLE: Dance in B flat major for Violin and Piano, Op. 1 / edited by Louis Persinger.
IMPRINT: New York : Leeds Music Corporation, 1957.
NOTES: It is a clean copy with no markings.
Persinger box 5, folder 3
AUTHOR: Reichardt, Luise.
TITLE: In the Time of Roses, Melody / transcribed by Louis Persinger.
IMPRINT: New York : Carl Fischer, 1916.
NOTES: It is a clean copy with no markings, but the score is in a fragile state with some water damage.
SEE ALSO: Persinger box 5, folders 4, 5, and 6, and Persinger box 6, folder 5.
Persinger box 5, folder 4
AUTHOR: Reichardt, Luise.
TITLE: “In the Time of Roses” / transcribed by Persinger, galley proof
NOTES: A white on green galley proof pasted on paper of the previous entry. There are numerous remarks in red pen and pencil.
SEE ALSO: Persinger box 5, folders 3, 5, and 6, and Persinger box 6, folder 5.
Persinger box 5, folder 5
AUTHOR: Reichardt, Luise.
TITLE: Melodie (In the time of roses) / transcribed by Persinger
NOTES: A manuscript in black ink, pencil, red ink and blue crayon, probably in the hand of Persinger. The title page, in ink, but crossed out in pencil gives the place and date, San Francisco [/] 1916. On the same page, in the lower left, in blue crayon is: CC [/] 19857. The score is a clean copy except for some additions in pencil. The paper used is: Beethoven Papier No. 11.
SEE ALSO: Persinger box 5, folders 3, 4, and 6, and Persinger box 6, folder 5.
Persinger box 5, folder 6
AUTHOR: Reichardt, Luise.
TITLE: In the time of roses / trans. by Persinger [sketch].
NOTES: A sketch of the violin part to a transcription of Reichardt, “In the Time of Roses.”
SEE ALSO: Persinger box 5, folders 3, 4, and 5, and Persinger box 6, folder 5.
Persinger box 5, folder 7
AUTHOR: Weingartner, Felix.
TITLE: Welke Rose, Op. 16 No. 3: with German, French, and English text.
IMPRINT: Berlin : C.A. Challier & Co., 1912.
NOTES: It is a song for solo voice with piano with text from a poem by Nicolaus Lenau. The title page has Persinger’s initials in black ink. There is a marking in ink on the second page of music.
Persinger box 5, folder 8
AUTHOR: Weingartner, Felix.
TITLE: “Welke Rose” / transcribed by Persinger.
NOTES: A clean manuscript in black ink, in the hand of Persinger, of a transcription to violin and piano of a song by Weingartner. It is signed and dated: Louis Persinger [/] Berlin [/] 19-7-15. The title page is written in German (with an English translation of the title in parentheses) with Lenau’s text written out. The paper used is: Beethoven Papier No. 11. Please also see the previous entry.
Persinger box 5, folder 9
AUTHOR: Weingartner, Felix.
TITLE: “Welke Rose” / transcribed by Persinger [sketch]
NOTES: A sketch for the transcription of Weingartner’s “Welke Rose.” It is in pencil, in Persinger’s hand, and although the staves are set up for a violin and piano score, only the violin part is sketched out. The paper used is: Beethoven Papier No. 11. Please also see the previous two entries.
Persinger box 5, folder 10
AUTHOR: Dvořák, Antonín.
TITLE: Melodie, “Als die alte Mutter” Op. 55, No. 4 / transcribed by Persinger.
NOTES: A manuscript in black ink, blue crayon, pencil, and red ink, in Persinger’s hand of a transcription to violin and piano of Dvorák’s “Als die alte Mutter” (“Songs my mother taught me”). Curiously the title and signed name and date (Louis Persinger [/] Berlin 28-7-15) are crossed out in pencil. The title page page has two mentions of Carl Fischer with a date in blue crayon, 1916 in roman numerals, whereas the black ink gives the 1915. The paper used is: Beethoven Papier No. 11.
Persinger box 5, folder 11
AUTHOR: Dvořák, Antonín.
TITLE: “Songs my Mother Taught me,” Op. 55 No. 4 / transcribed by Persinger [proof]
NOTES: A galley proof of the violin part and piano score of Dvorák’s “Songs my Mother Taught me” in white on green, stamped “1st PROOF” on the first page of the piano score. There are many revisions and notes in red ink in the margins and notes in pencil on the piano score. Please also see the previous entry.
Persinger box 5, folder 12
AUTHOR: Dvorák, Antonin.
TITLE: Songs my Mother Taught me, Op. 55, No. 4 / transcribed by Louis Persinger.
IMPRINT: New York : Carl Fischer, 1917.
NOTES: There are some markings in pencil, possibly not in Persinger’s hand. There is only a piano score, with no separate violin part.
Persinger box 5, folder 13
AUTHOR: Tchaikovsky, Peter Ilich.
TITLE: Humoresque, Op. 10 No. 2 / transcribed by Persinger.
NOTES: A manuscript in pencil, in the hand of Persinger. It is complete but undated and unsigned. Several annotations, mostly for the violin part, suggest Persinger making revisions to this version. The paper used is: Beethoven Papier No. 11.
SEE ALSO: Persinger box 6, folder 15.
Persinger box 5, folder 14
AUTHOR: Persinger, Louis.
TITLE: “A bachelor sat in his chair . . .”
NOTES: A sketch in black ink of a student song, probably in the hand of Persinger despite a signature at the end suggesting the name of Red Whellie. It is dated: Berlin, Jan. 6th, ‘09. The song begins with the verse, “A bachelor sat in his chair and he thought and he made up his mind that he wouldn’t be caught and yet he wanted to do what he thought.”
Persinger box 5, folder 15
AUTHOR: Délibes, Leo.
TITLE: Entr’acte from “Lakmé” / transcribed by Persinger.
NOTES: A manuscript in black ink, with pencil and purple pencil markings, in the hand of Persinger. It is a transcription for violin and piano of the Act III “Entr’acte” from Délibes’ opera, Lakmé. It is signed and dated: Louis Persinger [/] Brussels, June 28th, 1907. Curiously, there is also a place and date noted beneath the signature, in pencil: Winnipeg, 5-4-09. Note that Persinger titles his transcription: “Entr’acte” (“Berceuse”) de “Lakmé” — Délibes. But the transcription is only of the Intermezzo: Entr’acte that opens Act III and does not contain music from the Berceuse that immediately follows it. Also, Persinger transcribes only the Andante sections from the Entr’acte, suggesting that the title here of “Berceuse” is for his arrangement.
Persinger box 5, folder 16
AUTHOR: Bizet, Georges.
TITLE: Entr’acte from “Carmen” / transcribed by Persinger.
NOTES: A manuscript in black ink, with pencil markings, in the hand of Persinger. It is a transcription for violin and piano of the third Entr’acte from Bizet’s opera, Carmen. The title page has Persinger’s name and is titled: Entr’acte (no. 3) [/] aus Bizet’s oper [/] “Carmen” [/] für Violine und Klavier [/] gesetzt [/] von [/] Louis Persinger [/] Colo.[rado] Springs. [/] Colo.[rado] [/] April 6th [/] -1905-.
Persinger box 5, folder 17
AUTHOR: Chopin-Ysaÿe.
TITLE: Valse de Chopin (E minor)
NOTES: A rough manuscript in pencil, in the hand of Persinger. It is a copy, as Persinger notes at the end of the manuscript: Copied from Ysaÿe’s [/] manuscript. [/] San Francisco, Dec. 8th, 1917. [/] L.P. The title page simple states: Valse de Chopin. The paper used is: Monarch Brand Nr. 3 — Carl Fischer, New York. This copy seems to be an earlier version compared to the version that was once printed by Éditions Ysaÿe.
SEE ALSO: Persinger box 3, folder 2.
Persinger box 5, folder 18
AUTHOR: Haydn, Joseph.
TITLE: Rondo from Symphony No. 88 in G major / transcribed by Persinger
NOTES: A manuscript in pencil (with title pages in black ink), in the hand of Persinger, of a transcription of Haydn’s Rondo from Symphony No. 88 in G major for violin and piano. The title page states: Louis Persinger [/] Transcriptions [/] Berlin, 1915. There is a U.S. Customs stamp as well. The inner title page states: Rondo [/] von [/] Joseph Haydn [/] Nach dem Finale [/] der g-Dur Symphonie [/] (no. 13) [/] für Violine und Klavier [/] bearbeitet [/] von [/] Louis Persinger [/] Berlin, im Juli 1915. (Note that Persinger uses the former numbering of the Haydn Symphony on the title page.) There are various markings (in English) in the manuscript suggesting refinements to the transcription. There is also a slip of paper with a very rough sketch and some kind of multiplication calculation. The paper used is Beethoven Papier No. 3.
SEE ALSO: Persinger box 5, folder 22.
Persinger box 5, folder 19
AUTHOR: Vieuxtemps, Henri
TITLE: “Etude de Vieuxtemps, Op. 16 no. 3” / copied by Persinger(?)
NOTES: A fairly rough manuscript copy in pencil of Henri Vieuxtemps’s Etude de Concert Op. 16 no. 3, probably in the hand of Persinger. Apparently this is only the piano part of an etude for violin and piano. (A published version was unavailable at the time of this cataloging for review and confirmation.) The paper used is: Schott Frères.
Persinger box 5, folder 20
TITLE: Master Melodies and Folk Songs: A First Ensemble Book for Four Violins (First Position).
IMPRINT: New York : Concord Music Publishing Co., Inc., 1943.
NOTES: Edited with introduction by Louis Persinger, Weston, Philip. transcriber. Included are arrangements of works by Haydn, Gluck, Dvorak, Bach, Foster, Mozart and others, including traditional melodies. Persinger’s introductory note concerns with advice for the performers.
Persinger box 5, folder 21
AUTHOR: Strauss, Johann.
TITLE: Perpetuum Mobile (Musical Humoresque), Op. 257 / transcribed by Louis Persinger.
IMPRINT: New York : Carl Fischer, 1943.
NOTES: The title page has a label: Property of: [/] Rolf Persinger [/] 340 Riverside Dr [/] New York, NY. There is a stamp at the bottom: Reference Copy. The transcription is dedicated to Ruggiero Ricci.
Persinger box 5, folder 22
AUTHOR: Haydn, Joseph
TITLE: Rondo from Symphony No. 88 in G major / transcribed by Persinger
NOTES: A manuscript in black and red ink with pencil markings, in the hand of Persinger, titled: Rondo from the Finale of G Major Symphony No. 13. (Note that Persinger uses the former numbering of the Haydn Symphony — the numbering is now No. 88.) At the bottom of the first page is the stamp of a catalog number (24833 [with “-16” added in pencil] and the stamp of Carl Fischer. The transcription is for violin and piano, but there is no separate violin part. There are several taped paste-overs (all of which have not been removed). The red ink and pencil are used primarily to indicated corrections. The presence of printers marks for staff breaks suggests that this copy was sent to the publisher. Curiously, Persinger’s dated signature at the end is crossed out (perhaps because this version was written at a later date than the initial date of transcription).
SEE ALSO: Persinger box 5, folder 18.
Persinger box 5, folder 23
AUTHOR: Vaughan Williams, Ralph.
TITLE: Galop from Suite for Viola and Orchestra / arranged for Violin and Piano by Louis Persinger.
IMPRINT: London: Oxford University Press, 1949.
NOTES: Two copies of the above. There are no markings in the score or violin part. On the cover page of one copy is a number in pencil reflecting a number on the price tag: 23001.
Please also see the next entry.
Persinger box 5, folder 24
AUTHOR: Vaughan Williams, Ralph.
TITLE: Galop / arranged by Persinger
NOTES: A manuscript in pencil and blue ink, in the hand of Persinger, of an arrangement of the Galop by Vaughan Williams. It is a working draft titled “Galop” with indications of numerous revisions and remarks. The paper used is: Mozart Brand No. 4.
Please also see the previous entry.
Persinger box 5, folder 25
AUTHOR: Fiorillo, Federigo.
TITLE: “In Memoriam” / copied by Persinger
NOTES: A manuscript in black ink and pencil, of what appears to be Fiorillo’s piece for violin and piano, “In Memoriam.” The upper left corner has the name of the pedagogue Schradieck, in pencil: P[???]: [/] Schradieck. The manuscript is dated and signed: Copied in Winnipeg [/] February 25th, 1909. [/] Louis Persinger.
Persinger box 5, folder 26
AUTHOR: Serrano, José.
TITLE: La Canción del Olvido / transcribed for violin and piano by Louis Persinger
IMPRINT: New York : Carl Fischer, Inc., 1928.
NOTES: The title has the subtitle: (The Maid Forgotten) [/] Spanish Song. The transcription is dedicated to Menuhin: To my beloved pupil Yehudi Menuhin. There are no markings in the score or violin part. Please also see the following entry.
Persinger box 5, folder 27
AUTHOR: Serrano, José.
TITLE: “La Canción del Olvido” transcribed by Persinger (manuscript)
NOTES: A manuscript in black ink, red ink, and pencil, of a transcription to violin and piano of La Cancón del Olvido by Serrano, in the hand of Persinger. The transcription is dedicated to Menuhin: To my beloved pupil Yehudi Menuhin. There are numerous markings that suggest revisions, but this copy was the one probably sent to the publisher, Carl Fischer, as indicated by the stamp at the bottom of the first page. The small numbers in pencil are probably the staff breaks noted by the printer. There is a attached typed label with the title and catalog number B2152. There is a stamped number on the bottom of the page: 24837. Curiously, there is no signature or date at the end of the manuscript. The paper used is: S.C. & Co. No. 511. Please also see the previous entry.
Persinger box 5, folder 28
AUTHOR: Serrano, José.
TITLE: Canzonetta transcribed by Persinger (sketch).
NOTES: A sketch (fragment) in pencil, in the hand of Persinger, of a work titled Canzonetta, by Serrano. The paper used is: S.C. & Co. No. 511.
Persinger box 5, folder 29
AUTHOR: Spohr, Ludwig.
TITLE: Rondo / transcribed for violin and piano by Louis Persinger.
IMPRINT: New York : Carl Fischer, 1928.
NOTES: The transcription is dedicated to Menuhin: To my beloved pupil Yehudi Menuhin. There are no markings in the score or violin part.
SEE ALSO: Persinger box 5, folders 30, 31, and 32.
Persinger box 5, folder 30
AUTHOR: Spohr, Ludwig.
TITLE: Rondo / transcribed by Persinger.
NOTES: A manuscript in black ink, red ink, blue pencil, and pencil, of a transcription to violin and piano of a Rondo by Spohr, in the hand of Persinger. The transcription is dedicated to Menuhin: To my beloved pupil Yehudi Menuhin. Note that the title page includes the note: Free arrangement [/] for [/] violin and piano. Beside this part of the title, in pencil, not in Persinger’s hand is written: Free Transcription by. There are a few markings that orthographic refinements, and this copy was the one probably sent to the publisher, Carl Fischer, as indicated by the stamp at the bottom of the first page. The small numbers in pencil are probably the staff breaks noted by the printer. There is a attached typed label with the title and catalog number B2153. There is a stamped number on the bottom of the page: 24836. There is Persinger’s signature in logo form at the end of the manuscript. The paper used is: S.C. & Co. No. 511.
SEE ALSO: Persinger box 5, folders 29, 31 and 3.
Persinger box 5, folder 31
AUTHOR: Spohr, Ludwig.
TITLE: Rondo transcribed by Persinger.
NOTES: A manuscript in black ink and pencil, of a transcription to violin and piano of a Rondo by Spohr, in the hand of Persinger. On the title page, in pencil, is written: Rondo [/] by [/] L. Spohr [/] Free arrangement by [/] Louis Persinger. The manuscript is dated in black ink: Winnipeg, 4-14-1909. [/] San Francisco, 5-5-1919. The paper used is: Mozart Brand No. 4.
SEE ALSO: Persinger box 5, folders 29, 30, and 32.
Persinger box 5, folder 32
AUTHOR: Spohr Ludwig.
TITLE: Rondo / transcribed by Persinger (manuscript)
NOTES: A manuscript in black ink and pencil, of a transcription to violin and piano of a Rondo by Spohr. There is a note in the upper right corner: (arranged from Spohr op. 67). Note that opus 67 is a set of duos for two violins. The manuscript contains many remarks and revisions in pencil, including alternate titles: Scherzino? [/] Scherzo?. It is signed and dated: Louis Persinger [/] Winnipeg, April 14th, 1909. The paper used is: R & W Co. No. 3.
SEE ALSO: Persinger box 5, folders 29, 30, and 31.
Persinger box 5, folder 33
AUTHOR: Esparza Oteo, Alfonso
TITLE: Mi Viejo Amor... Mexican Song upon the words of A. Fernandez Bustamente.
IMPRINT: [Location not indicated]: Union Hispano Americana, [19--?]
NOTES: There are numerous remarks in pencil, suggesting an intention to transcribe the work, probably in the hand of Persinger.
Persinger box 5, folder 34
AUTHOR: Esparza Oteo, Alfonso
TITLE: “Mi Viejo Amor. . .” / transcribed by Persinger (sketch)
NOTES: A very rough sketch in pencil of the previous entry, probably in the hand of Persinger. The paper used is: Monarch Brand, Carl Fischer No. 10 — 12 lines.
Persinger box 5, folder 35
AUTHOR: Barthélemy, Richard.
TITLE: Neapolitan Song / transcribed for violin and piano by Louis Persinger.
IMPRINT: New York : Carl Fischer, Inc., 1930.
NOTES: The transcription is dedicated to Ruggiero Ricci. Both the violin part and score have numerous markings in pencil. Curiously there are two violin parts, identical in print, but with different markings (though some are the same). The violin parts are signed with Persinger’s logo. The title page of the score has some kind of logo (unlike Persinger’s).
SEE ALSO: Persinger box 5, folders 36 and 37; Persinger box 4, folder 5; Persinger box 6, folder 4.
Persinger box 5, folder 36
AUTHOR: Barthélemy, Richard.
TITLE: Neapolitan Song / transcribed by Persinger (sketch).
NOTES: A sketch in pencil (with a few instances of black ink) of a transcription for violin and piano of a Neapolitan Song by Barthélemy, in the hand of Persinger. On the title page is written: For Ruggiero [Ricci] [/] Neapolitan Song [/] Barthélemy-L.P. There is a main sketch along with a few separate sketches. Throughout there are many written remarks concerning improvements and decisions in transcription. The paper used is: Monarch Brand, Carl Fischer, No. 10 – 12 lines.
SEE ALSO: Persinger box 5, folders 35 and 37; Box 4, folder 5; Box 6 folder 4.
Persinger box 5, folder 37
AUTHOR: Barthélemy, Richard.
TITLE: Neapolitan Song / transcribed by Persinger (copyists’s manuscript)
NOTES: A manuscript in ink (with a few marks in pencil) of a transcription for violin and piano of a Neapolitan Song by Barthélemy, probably in the hand of a copyist. Both the piano score and violin parts are written out. The paper used is: Monarch Brand, Carl Fischer, No. 3.
SEE ALSO: Persinger box 5, folders 35 and 36; Persinger box 4, folder 5; Persinger box 6, folder 4.
Persinger box 5, folder 38
AUTHOR: Reuter, Florizel von.
TITLE: Danse roumaine.
NOTES: A manuscript in pencil, in the hand of Persinger. It is apparently a copy of Reuter’s Danse roumaine. Only the violin part is given although the music suggests there is at least another part. There are a number of written remarks as well. The title page has Persinger’s logo. The paper used is: Monarch Brand, Carl Fischer No. 4 – 12 lines.
Persinger box 5, folder 39
AUTHOR: Senaillé, Jean Baptiste.
TITLE: Allegro spiritoso.
NOTES: A manuscript in pencil of the Allegro spiritoso from the Sonata for violin and continuo, 2e livre, no. 5 by Jean Baptiste Senaillé, in Persinger’s hand. It is apparently a copy. Only the violin part is given. The title page has Persinger’s logo. The paper used is: Monarch Brand, Carl Fischer No. 4 – 12 lines.
Persinger box 6, folder 1
AUTHOR: Chausson, Ernest.
TITLE: Poème / edited by Persinger with piano accompaniment by Sula Levitch.
NOTES: A carbon copy of a revised edition by Persinger, with revisions in red and blue ink, of Chausson’s Poème, op. 25. The handwriting, in either the piano or violin part, is not of Persinger’s. It is also questionable if the revisions in red and blue ink are in Persinger’s hand.
Persinger box 6, folder 2
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonatas for solo violin Nos. 2 and 3
NOTES: One positive image photocopiy and one negative image photocopy of the holograph to Bach’s Sonatas for solo violin Nos. 2 and 3 (BWV 1003 and 1005). They are contained in an envelope addressed to Persinger, care of the Juilliard Foundation, and sent from the Prussian State Library in Berlin. The post date gives the date of October 21, 1938, sent from Berlin.
Persinger box 6, folder 3
AUTHOR: Liszt, Franz.
TITLE: Tarantella from Venezia e Napoli / arranged by Persinger.
NOTES: A manuscript in black ink of Persinger’s transcription to violin and piano of Liszt’s Tarantella (from the supplement to the second volume of Années de Pèlerinage – ‘Venezia e Napoli’), in Persinger’s hand. The title page has written: Tarantella [/] (aus “Venezia e Napoli” - Supplément à la [/] deuxième année de Pèlerinage) [/] von [/] F. Liszt. [/] Frei nach dem original für Klavier [/] und der Orchester-Bearbeitung von Karl [/] Müller-Bergbaus für Violine und [/] Klavier gestzt [/] von [/] Louis Persinger [/] Berlin 1915. (The date and signature at the end of the manuscript indicates that the month was April.) The paper used is: Beethoven Papier No. 11. There are several paste-overs which have not been removed. The back cover has, in pencil, what seems to be several attempts by Persinger to practice his signature.
Persinger box 6, folder 4
AUTHOR: Barthélemy, Richard.
TITLE: Neapolitan Song / transcribed by Persinger.
NOTES: A manuscript in black ink and pencil, of Barthélemy’s Neapolitan Song, probably in the hand of Persinger. Pasted typewritten labels indicate that it was given to Carl Fischer in 1930. Curiously Persinger’s dated signature (Louis Persinger [/] May, 1929.), at the end of the piano score is crossed out in pencil. There is both a piano score and a separate violin part.
SEE ALSO: Persinger box 5, folders 35, 36 37; and Persinger box 4, folder 5.
Persinger box 6, folder 5
AUTHOR: Reichardt, Luise.
TITLE: In the Time of Roses, Melody / transcribed by Louis Persinger.
IMPRINT: New York : Carl Fischer, 1916.
NOTES: There are no markings.
SEE ALSO: Persinger box 5, folder 3, 4, 5, 6.
Persinger box 6, folder 6
AUTHOR: Persinger, Louis.
TITLE: Exercises (crossed-out).
NOTES: Two pages of exercises, in sketch, in black ink, probably in Persinger’s hand, with cross-outs in pencil and blue ink. Curiously everything is crossed out. There is Persinger’s dated initals at the end: Ojai, California [/] April, 1926. [/] L.P.
Persinger box 6, folder 7
AUTHOR: Persinger, Louis.
TITLE: “Eine kleine Erzählung.”
NOTES: A manuscript in black ink, of Persinger’s original piece for violin and piano, “Eine kleine Erzählung” (“Storiette”). There is an inscription on the cover: Played as originally written for first time [/] in public at Leadville, Colo.[rado], on Nov. 30th, 1904. Note, however, that the dated signature is: Louis H. Persinger. [/] Saturday. Oct. 3rd. Leipzig. [/] 1903.
Please see also the following entry.
Persinger box 6, folder 8
AUTHOR: Persinger, Louis.
TITLE: “Eine kleine Erzählung.”
NOTES: A single page manuscript in blue ink and pencil, of Persinger’s original piece, “Eine kleine Erzählung.” Note that although the signed date and place of this manuscript is the same as that in the previous entry, several articulations are different between the two. Furthermore, there is no title given to this manuscript. Please also see the previous entry.
Persinger box 6, folder 9
AUTHOR: Persinger, Louis.
TITLE: Improvisation.
NOTES: A manuscript in black ink, of a short piece for piano, in Persinger’s hand. It is signed in the upper left corner and is dated at the end: Brussels, [/] Oct. 26th, 1907.
Persinger box 6, folder 10
AUTHOR: Persinger, Louis.
TITLE: Cadenza to Viotti Violin Concerto No. 22.
NOTES: A manuscript in black ink, of a cadenza to Viotti’s Violin Concerto No. 22, in Persinger’s hand. Note that Persinger had studied Ysaÿe’s cadenza for this concerto. There are several paste-overs, kept in place by pins. Persinger’s initials are in the upper right corner. There are sketches in pencil on the back page.
SEE ALSO: Persinger box 1, folder 18.
Persinger box 6, folder 11 TITLE: Exercises / by Thomson, Ysaÿe, Flesch
NOTES: A manuscript in black ink and pencil with exercises attributed to César Thomson, Ysaÿe, and Carl Flesch, probably in the hand of Persinger. The first page is mostly in black ink, but the rest is mostly in pencil. Directions are written in French, German, and English. Of particular note is an exercise with a dotted rhythm with an accent on the short note which has the inscription: (for Ysaÿe’s system of accenting the last note in an: arpeggio passage, etc.). There is some rust at the spine and last page.
Persinger box 6, folder 12
AUTHOR: Chopin, Frédéric.
TITLE: Valse (Op. 34, no. 3) / transcribed by Persinger
NOTES: A manuscript in black ink, red ink, blue crayon, and pencil, of Persinger’s transcription to violin and piano of Chopin’s Waltz Op. 34 no. 3, in Persinger’s hand. The dated signature (curiously crossed out) is: Louis Persinger [/] December, 1917. [/] San Francisco. This transcription was apparently sent to Carl Fischer, but the date which might be taken from the stamp, is obliterated. The paper used is: Mozart Brand No. 4
Persinger box 6, folder 13
AUTHOR: Persinger, Louis.
TITLE: Moto Perpetuo.
NOTES: A manuscript in black ink and pencil, of a work for violin and piano by Persinger, in Persinger’s hand. It is dedicated to: Louron. On the cover of the piano score, in the upper right in pencil, probably in Persinger’s hand, is written: Rolf. Oct. 27th, 1929. It is signed at the end of the violin part as well as the piano score: Louis Persinger [/] Forest Hills [/] July 3rd-4th 1929. The work has several humorous indications (e.g. the main tempo indication is: Tempo di Tongue Hanging Out!) German, French, and English indications are mixed throughout. The paper used is: Monarch Brand, Carl Fischer No. 3. Please also see the following entry.
Persinger box 6, folder 14
AUTHOR: Persinger, Louis.
TITLE: Moto Perpetuo (sketch).
NOTES: A manuscript/sketch in pencil and black ink, of a work for violin and piano by Persinger, in Persinger’s hand. It is apparently incomplete. On the front, Persinger’s logo is in the upper right corner, in black ink. The paper used is: Monarch Brand, Carl Fischer No. 3. Please also see the previous entry.
Persinger box 6, folder 15
AUTHOR: Tchaikovsky, Peter Ilich.
TITLE: Humoresque / transcribed by Persinger.
NOTES: A manuscript in ink of a transcription to violin and piano of Tchaikovsky’s Humoresque, Op. 10 no. 2, in Persinger’s hand. It is signed and dated at the end: Louis Persinger [/] Berlin, 23-7-15. The paper used is: Beethoven Papier No. 3.
SEE ALSO: Persinger box 5, folder 13
Persinger box 6, folder 16
TITLE: Italian Popular Song / arranged by Persinger.
NOTES: A manuscript in black ink and red pencil, of an arrangement of an Italian song for violin and piano, in Persinger’s hand. There is also a separate violin part. The work is dedicated to Ruggiero Ricci. The paper used is: Monarch Brand, Carl Fischer, No. 10 – 12 lines. Please also see the following entry.
Persinger box 6, folder 17
TITLE: Italian Popular Song / arranged by Persinger (sketch).
NOTES: A manuscript/sketch in pencil, of an arrangement of an Italian song for violin and piano, in Persinger’s hand. The paper used is: Monarch Brand, Carl Fischer, No. 10 – 12 lines. Please also see the previous entry.
Persinger box 6, folder 18
AUTHOR: Sabin, Wallace A.
TITLE: “Hornpipe” / arranged by Persinger.
NOTES: A manuscript in black ink, of an arrangement of Sabin’s “Hornpipe” for violin and piano, in the hand of Persinger. Both the violin part and piano score are clean, with no revisions. The piano score is signed and dated at the end: L.P. [in logo form] [/] August, 1929. The paper used for the cover is: No. 51. The paper used for the violin part is: S.C. & Co. No. 511. The paper used for the piano score is: Beethoven Papier No. 11. Please also see the following entry.
Persinger box 6, folder 19
AUTHOR: Sabin, Wallace A.
TITLE: “Hornpipe” / arranged by Persinger (draft).
NOTES: A manuscript in black ink and pencil, of an arrangement of Sabin’s “Hornpipe” for violin and piano, in the hand of Persinger. There is only a piano score (although it may possibly have been intended as a string trio, noting his comments in pencil, ‘viola’ and ‘cello,’ found at the first staff) and there is a great number of revisions and comments in pencil. Please also see the previous entry.
Persinger box 6, folder 20
AUTHOR: Tchaikovsky, Peter Ilich.
TITLE: ‘Andante Cantabile’ from String Quartet No. 1 in D major, Op. 11 (first violin part, edited)
NOTES: A manuscript in pencil of an edited and altered first violin part from the ‘Andante Cantabile’ (second movement from Tchaikovsky’s String Quartet No. 1 in D major, Op. 11), probably in Persinger’s hand. There are cuts and some passages are changed to be in different octaves or with different figurations. Perhaps this copy was used in preparation for an arrangement of this movement as a string quartet, or a transcription for violin and piano.
Persinger box 6, folder 21
TITLE: Walloon melody : “Quand le p’tit Jésus allait à l’école”
NOTES: A manuscript in black ink, of a Walloon melody, “Quand le p’tit Jésus allait à l’école” (“When the little Jesus went to school”), probably in the hand of Persinger. The work is attributed as: — Chanson enfantine — [/] (Wallonie). (i.e. — Children’s song — Wallonia) Although the page is set for a solo part with piano, there is no piano part given. It is dated at the end: Wissant, [/] Sept. 1910. (Wissant is a small resort town in Pas-de-Calais, France, which is near the border with Wallonia of Belgium.)
Persinger box 7, folder 1
AUTHOR: Kreisler, Fritz.
TITLE: Three Cadenzas for the L. van Beethoven Violin Concerto Op. 61.
IMPRINT: New York : Charles Foley, 1928.
NOTES: Cadenzas for each movement are given. There are no markings.
SEE ALSO: Persinger box 7, folder 8.
Persinger box 7, folder 2
AUTHOR: Kreisler, Fritz.
TITLE: Recitativo und Scherzo-Caprice, Op. 6.
IMPRINT: Mainz: B. Schott’s Söhne, 1911.
NOTES: The inner title page has Persinger’s signature, dated 1915. There are markings inside in pencil, suggesting corrections for several missing accidentals/misprints.
Persinger box 7, folder 3
AUTHOR: Kreisler, Fritz.
TITLE: Berceuse Romantique, Op. 9.
IMPRINT: New York : Carl Fischer, 1916.
NOTES: The inner title page has Persinger’s signature. There is no separate violin part. There are markings in pencil, making suggestions and alterations in dynamics. Note that the notice printed on the inside cover shows that this work was printed before Kreisler revealed his authorship of several works attributed to the old masters.
Persinger box 7, folder 4
AUTHOR: Kreisler, Fritz.
TITLE: Polichinelle Sérénade.
IMPRINT: New York : Carl Fischer, 1917.
NOTES: The inner title page has Persinger’s signature. The violin part also has Persinger’s signature on its cover. There are markings in pencil, making playing suggestions for the piano part. Note that the notice printed on the inside cover shows that this work was printed before Kreisler revealed his authorship of several works attributed to the old masters.
Persinger box 7, folder 5
AUTHOR: Kreisler, Fritz.
TITLE: Caprice Viennois, Op. 2.
IMPRINT: Mainz: B. Schott’s Söhne, 1910.
NOTES: The inner title page has Persinger’s signature. The violin part also has Persinger’s signature on its cover. There are several markings in pencil, with comments in the violin part and suggestions for dynamics in the piano part.
Persinger box 7, folder 6
AUTHOR: Kreisler, Fritz.
TITLE: Syncopation, for Violin, Cello, and Piano / cello part edited by Willem Willeke.
IMPRINT: New York : Carl Fischer Inc., 1925.
NOTES: There are no markings.
Persinger box 7, folder 7
AUTHOR: Kreisler, Fritz.
TITLE: Quartet in A minor for 2 Violins, Viola, and Cello.
IMPRINT: New York : Carl Fischer, 1921.
NOTES: There are numerous markings in each part. Markings are in pencil in the upper strings and in blue crayon for the cello part. The markings in Violin I may possibly be in Persinger’s hand. The other parts are in the hands of others.
Persinger box 7, folder 8
AUTHOR: Kreisler, Fritz.
TITLE: Three Cadenzas for the L. van Beethoven Violin Concerto Op. 61.
IMPRINT: New York : Carl Fischer, 1928.
NOTES: Cadenzas for each movement are given. The cover has the name signed, Rolf (Persinger’s son). There are numerous markings, with an altered version of Joachim’s cadenza to the second movement, written out on the inside cover. The handwriting is not of Persinger’s.
SEE ALSO: Persinger box 7, folder 1.
Persinger box 7, folder 9
AUTHOR: Kreisler, Fritz.
TITLE: Cadenza for the Brahms Violin Concerto Op. 77.
IMPRINT: New York : Carl Fischer Inc., 1928.
NOTES: There are no markings.
Persinger box 7, folder 10
AUTHOR: Kreisler, Fritz.
TITLE: Rondino on a Theme by Beethoven.
IMPRINT: New York : Carl Fischer, 1915.
NOTES: The score is in fragile condition, with the cover in separate pieces. There are several markings in pencil in both the piano score and violin part. Markings in the piano part are suggestions in dynamics while the markings in the violin part give fingerings and bowings. The cover has Persinger’s signature and there is an inscription: 1st time: [/] San Francisco, [/] 25-1-16.
Persinger box 7, folder 11
AUTHOR: Kreisler, Fritz.
TITLE: Tambourin Chinois, Op. 3.
IMPRINT: Mainz: B. Schott’s Söhne, 1910.
NOTES: There are several markings in pencil in the piano score as well as the violin part. The cover and covers of each part have Persinger’s signature. The inner cover of the piano score has written: Louis Persinger [/] Berlin, 1910.
Persinger box 7, folder 12
AUTHOR: Kreisler, Fritz.
TITLE: La Chasse (Caprice) [in the style of Jean-Baptiste Cartier].
IMPRINT: Mainz: B. Schott’s Söhne, 1911.
NOTES: Persinger’s signature appears on the inner cover as well as the violin part. There are no markings in the score. Note that the notice printed on the inside cover shows that this work was printed before Kreisler revealed his authorship of several works attributed to the old masters.
Persinger box 7, folder 13
AUTHOR: Kreisler, Fritz.
TITLE: Praeludium und Allegro [in the style of Gaetano Pugnani]
IMPRINT: Mainz: B. Schott’s Söhne, 1910.
NOTES: Persinger’s signature appears on the cover of both the piano score and violin part. The cover of the piano score shows names of places and dates, suggesting when and where Persinger may have played this work. There are markings in both parts — mainly dynamics in the piano score and fingerings in the violin part. The piano score is in particularly fragile condition.
Persinger box 7, folder 14
AUTHOR: Kreisler, Fritz.
TITLE: Scherzo [in the style of Karl von Dittersdorf]
IMPRINT: Mainz: B. Schott’s Söhne, 1910.
NOTES: Persinger’s signature appears on the cover of the piano score, the inner cover, and the violin part. There are a few markings in the violin part, mainly concerning matters of pacing. The notice printed on the inside cover shows that this work was printed before Kreisler revealed his authorship of several works attributed to the old masters.
Persinger box 7, folder 15
AUTHOR: Kreisler, Fritz.
TITLE: Andantino [in the style of Padre Martini]
IMPRINT: Mainz: B. Schott’s Söhne, 1910.
NOTES: Persinger’s signature appears on the inner cover of the piano score. There is no separate violin part. The inner cover of the piano score shows names of places and dates, suggesting when and where Persinger may have played this work. There are a few markings, mainly concerning matters of dynamics. The notice printed on the inside cover shows that this work was printed before Kreisler revealed his authorship of several works attributed to the old masters.
Persinger box 7, folder 16
AUTHOR: Kreisler, Fritz.
TITLE: Chanson Louis XIII. & Pavane (in the style of Louis Couperin)
IMPRINT: Mainz: B. Schott’s Söhne, 1910.
NOTES: Persinger’s signature appears on the cover (of the violin part) as well as the piano score. There are some markings of various kinds, including hints for performance, for both parts.
Persinger box 7, folder 17
AUTHOR: Tartini, Giuseppe.
TITLE: Fuge in A dur. arr. Fritz Kreisler.
IMPRINT: Mainz: B. Schott’s Söhne, 1913.
NOTES: There is no signature on the covers. Both the violin part and piano score have markings, mainly concerning dynamics.
Persinger box 7, folder 18
AUTHOR: Kreisler, Fritz.
TITLE: Aubade Provençale [in the style of Louis Couperin].
IMPRINT: Mainz: B. Schott’s Söhne, 1911.
NOTES: Persinger’s signature appears on both the piano score and violin part. There are however, no other markings. The notice printed on the inside cover shows that this work was printed before Kreisler revealed his authorship of several works attributed to the old masters.
Persinger box 7, folder 19
AUTHOR: Kreisler, Fritz.
TITLE: Menuet [in the style of Niccolo [sic.] Porpora].
IMPRINT: Mainz: B. Schott’s Söhne, 1910.
NOTES: Persinger’s signature appears on both the cover and the inside cover. There is only a piano score. There are a few markings in dynamics. The notice printed on the inside cover shows that this work was printed before Kreisler revealed his authorship of several works attributed to the old masters. The inscription “Berlin, 27-1-11” suggests a place and date where Persinger may have performed this work.
Persinger box 7, folder 20
AUTHOR: Kreisler, Fritz.
TITLE: Schön Rosmarin.
IMPRINT: Mainz: B. Schott’s Söhne, 1910.
NOTES: Persinger’s signature appears on both the cover and the inside cover (violin part). There is both a violin part and a piano score, but there are are markings (concerning pacing and dynamics) only in the piano score. The notice printed on the inside cover shows that this work was printed before Kreisler revealed his authorship of several works attributed to the old masters. The inscription “Berlin, 8-11-14.” suggests a place and date where Persinger may have performed this work. The upper left corner of the first page of the piano score is torn and lost.
Persinger box 7, folder 21
AUTHOR: Kreisler, Fritz.
TITLE: Liebesleid.
IMPRINT: New York : Carl Fischer, Inc., 1910.
NOTES: A sticker on the cover shows that this score belonged to Rolf Persinger, Louis Persinger’s son. Both the violin part and piano score have markings. Some of the markings (i.e. “charm! –” in the violin part) are possibly in Louis Persinger’s hand.
Persinger box 7, folder 22
AUTHOR: Kreisler, Fritz.
TITLE: Liebesfreud.
IMPRINT: New York : Carl Fischer, Inc., 1910.
NOTES: There are no markings or signatures.
Persinger box 7, folder 23
AUTHOR: Kreisler, Fritz.
TITLE: Siciliano & Rigaudon [in the style of François Francoeur]
IMPRINT: Mainz: B. Schott’s Söhne, 1910.
NOTES: The front cover seems to be missing. Persinger’s signature appears on the cover of the piano score, and there is only a piano score. There are markings, generally concerning dynamics.
Persinger box 7, folder 24
AUTHOR: Kreisler, Fritz.
TITLE: Romance, Op. 4.
IMPRINT: New York : Carl Fischer, 1910.
NOTES: There are no markings or signatures.
Persinger box 7, folder 25
AUTHOR: Balogh, Ernö.
TITLE: Caprice Antique / transcribed by Fritz Kreisler.
IMPRINT: New York : Carl Fischer Inc., 1924.
NOTES: Persinger’s logo, in pencil, is on the cover. There is only a piano score. There are few markings, mainly concerning dynamics and pacing.
Persinger box 7, folder 26
AUTHOR: Paganini, Nicolò.
TITLE: Le Streghe, Op. 8 / edited by Fritz Kreisler.
IMPRINT: Leipzig : Ernst Eulenburg, 1905.
NOTES: There is both the violin part and piano score. There are no signatures or markings. The score is in very fragile condition, with a tear in the cover page and a significant tear in the first two pages of the piano score.
Persinger box 7, folder 27
AUTHOR: Tartini, Giuseppe.
TITLE: The Devil’s Trill / edited by Fritz Kreisler.
IMPRINT: Leipzig : Ernst Eulenburg, 1905.
NOTES: There are no signatures, but there are a few markings in blue crayon in the violin part, and an occasional mark (in pencil) in the piano score. The spine is bound in twine and the cover is of thick paper. The cover has a sticker with the title as well as the title written along the spine.
Persinger box 7, folder 28
AUTHOR: Mozart, Wolfgang Amadeus.
TITLE: Rondo [from the “Haffner” Serenade in D major for strings and winds in D major, KV 250] / arranged by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, 1913.
NOTES: On the cover is an inscription in pencil, not in Persinger’s hand: Would you please finger – Beth [/] (I adore this). However, there are no signatures or markings in either the violin part or piano score.
Persinger box 7, folder 29
AUTHOR: Wieniawski, Henryk.
TITLE: Airs Russes / edited by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, Inc., 1929.
NOTES: There are no markings or signatures.
Persinger box 7, folder 30
AUTHOR: Schubert, Franz.
TITLE: Ballet Music from Rosamunde / transcribed by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, Inc., 1917.
NOTES: Persinger’s signature appears on both the inner cover of the piano score and the cover of the violin part. There are no markings in either part.
Persinger box 7, folder 31
AUTHOR: Paganini, Nicolò.
TITLE: Caprice No. 13 [from 24 Caprices, Op. 1] / arranged for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, 1913.
NOTES: The cover has on top “(R.” in pencil, perhaps suggesting that this score was for his son, Rolf. Many of the pages have tears. There are markings in both the violin part and piano score, but the handwriting is possibly not that of Louis Persinger’s.
Persinger box 7, folder 32
AUTHOR: Paganini, Nicolò.
TITLE: Caprice No. 20 [from 24 Caprices, Op. 1] / arranged for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, 1911.
NOTES: The upper right corner of the cover/piano score is torn and missing. Many of the pages have tears. There are markings in both the violin part and piano score, but the handwriting is possibly not that of Louis Persinger’s.
Persinger box 7, folder 33
AUTHOR: Paganini, Nicolò.
TITLE: Caprice No. 24 [from 24 Caprices, Op. 1] / arranged for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, 1913.
NOTES: There are no signatures or markings.
Persinger box 7, folder 34
AUTHOR: Rimsky-Korsakoff, Nicolai.
TITLE: Chanson Arabe [from Scheherazade] / transcribed for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, 1922.
NOTES: On the upper right of the cover is written “L.” (as in L[ouis Persinger]?) in a hand that closely resembles Persinger’s. There are several markings in both the violin part and piano score (though some of the markings are possibly not in Louis Persinger’s hand).
Persinger box 7, folder 35
AUTHOR: Kreisler, Fritz.
TITLE: Concerto in C major [in the style of Vivaldi].
IMPRINT: New York : Carl Fischer, Inc., 1927.
NOTES: Persinger’s signature appears on the cover and inner cover, and first page of the piano score. Persinger’s logo appears on the violin part. Alongside the signatures on the cover and inside cover is the place and date “New York, 1927” as well as the name “Rolf” (referring to Rolf Persinger, Louis Persinger’s son). The cover also has written in the upper left: correct mistakes. (— possibly referring to Persinger’s advice for his son?) There are numerous markings in both the violin part and piano score and most seem to be in Louis Persinger’s hand.
Persinger box 7, folder 36
AUTHOR: Friml, Rudolf.
TITLE: La Danse des Demoiselles, Op. 48 / transcribed for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, Inc., 1927.
NOTES: According to the printed note, G. Schirmer owns the copyright of this arrangement since 1908. There are no markings in either the violin part or piano score.
Persinger box 7, folder 37
TITLE: Old Irish Melody: Farewell to Cucullain (Londonderry Air) / transcribed for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, 1927.
NOTES: The title page has written in the upper right, “Rolf” suggesting that this score belonged to Louis Persinger’s son. Likewise, most, if not all of the fingerings and markings in both the violin part and piano score are probably not in the hand of Louis Persinger.
Persinger box 7, folder 38
AUTHOR: Lehar, Franz.
TITLE: Frasquita (Serenade) / transcribed for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, Inc., 1927.
NOTES: The violin part has written on the cover, the title and Persinger’s signature. The piano score has Persinger’s signature on the first page of music. There are no markings in the violin part, but a decrescendo and fermatas are marked in the piano score.
Persinger box 7, folder 39
AUTHOR: Rimsky-Korsakoff, Nicolai.
TITLE: Hindoo Chant (from the opera Sadko) / transcribed for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, 1919.
NOTES: Persinger’s signature, with the date “1920” appears on the first page of the piano score. There are no markings in the violin part, and only a ritardando and pianissimo marked in the final measures of the piano score.
Persinger box 7, folder 40
AUTHOR: Brahms, Johannes.
TITLE: Hungarian Dance (No. 17) / transcribed for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, 1925.
NOTES: There are neither signatures nor markings in the violin part or piano score.
Persinger box 8, folder 1
AUTHOR: Haydn, Joseph.
TITLE: Hugarian Rondo / arranged for violin and piano by Fritz Kreisler.
IMPRINT: New York : Charles Foley, 1945.
NOTES: There are neither signatures nor markings in the violin part or piano score.
Persinger box 8, folder 2
AUTHOR: Dvorák, Antonín.
TITLE: Indian Lament / arranged for violin and piano by Fritz Kreisler.
IMPRINT: Berlin : N. Simrock, GmbH., 1914.
NOTES: There are neither signatures nor markings in the violin part or piano score.
Persinger box 8, folder 3
AUTHOR: Schelling, Ernest.
TITLE: Irlandaise / transcribed for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, 1928.
NOTES: There are neither signatures nor markings in the violin part or piano score.
Persinger box 8, folder 4
AUTHOR: Mendelssohn-Bartholdy, Felix.
TITLE: Lied ohne Worte / transcribed for violin piano by Fritz Kreisler.
IMPRINT: Mainz: B. Schott’s Söhne, 1913.
NOTES: Persinger’s signature appears on the first page of the piano score. There are few markings in both the violin part (fingerings) and piano score (dynamics and pacing).
Persinger box 8, folder 5
AUTHOR: Kreisler, Fritz.
TITLE: Marche Miniature Viennoise for Violin, Cello, and Piano / cello part edited by Willem Willeke.
IMPRINT: New York : Carl Fischer, Inc., 1925.
NOTES: There are two copies of the violin part and cello part. There are neither signatures nor markings in the violin part, cello part, or piano score.
Persinger box 8, folder 6
AUTHOR: Heuberger, Richard.
TITLE: Midnight Bells from Der Opernball, Op. 40 / transcribed for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, 1923.
NOTES: There are neither signatures nor markings in the violin part or piano score.
Persinger box 8, folder 7
AUTHOR: Dvorák, Antonín.
TITLE: Negro Spiritual Melody from Symphony No. 9, Op. 95 “From The New World” / transcribed for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, Inc., 1924.
NOTES: Persinger’s signature appears on the cover and there are a few dynamic and pacing markings in the piano score. There are no markings in the violin part. The score is taped at the spine in the middle and the cover is separated.
Persinger box 8, folder 8
AUTHOR: Paganini, Nicolò.
TITLE: Moto Perpetuo, Op. 11 / edited by Fritz Kreisler.
IMPRINT: New York : G. Schirmer, Inc., 1905.
NOTES: (The copyright is attributed to Ernst Eulenburg.) There is what appears to be Rolf Persinger’s logo on the cover. There are numerous markings in the violin part and piano score. However, except for possibly the fingerings and some of the written comments, the markings are probably not in Louis Persinger’s hand. The cover is separated and the score has several tears.
Persinger box 8, folder 9
TITLE: Austrian National Hymn,“Gott erhalte unseren Kaiser” / arranged for violin and piano by Fritz Kreisler.
IMPRINT: Mainz: B. Schott’s Söhne, 1915.
NOTES: There are neither signatures nor markings in either the violin part or piano score.
Persinger box 8, folder 10
AUTHOR: Logan, Frederic Knight.
TITLE: Pale Moon (Indian Love Song) / transcribed for violin and piano by Fritz Kreisler.
IMPRINT: Chicago: Forster Music Publisher, Inc., 1920.
NOTES: There are neither signatures nor markings in either the violin part or piano score.
Persinger box 8, folder 11
AUTHOR: Krakauer, Alexander.
TITLE: Paradise (Viennese Folksong) / arranged for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, 1922.
NOTES: Persinger’s signature appears on the cover and the inside cover. There are numerous markings in the piano score. There is no separate violin part.
Persinger box 8, folder 12
AUTHOR: Bach, Johann Sebastian.
TITLE: Praeludium, from the Partita in E major, BWV 1006 / arranged for violin and piano by Fritz Kreisler.
IMPRINT: New York : Charles Foley, 1913, 1941.
NOTES: Persinger’s signature does not appear anywhere but there are several markings (to correct misspellings of indications and missing ties and slurs) in the piano score. There are no markings in the violin part.
Persinger box 8, folder 13
AUTHOR: Chaminade, Cécile.
TITLE: Serenade Espagnole / transcribed for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, 1915.
NOTES: Violin part only. Persinger’s signature is on the cover with the date “1915” underneath. Also on the cover is written the following, probably noting a performance by Persinger: 1st time: [/] San Francisco [/] 25-1-16. There are four markings in the violin part, but they are only sharp accidentals that correct misprints.
Persinger box 8, folder 14
AUTHOR: Glazunov, Alexander.
TITLE: Sérénade Espagnole / transcribed for violin and piano by Fritz Kreisler.
IMPRINT: New York : Carl Fischer, Inc., 1930.
NOTES: There are neither signatures nor markings in the piano score or violin part. Curiously however, on the cover is written “Hallamzo Balaton — Op. 33” probably referring to the work by Jenö Hubay.
Persinger box 8, folder 15
AUTHOR: Dvorák, Antonin.
TITLE: Slavonic Dances No. 1 in G minor / transcribed for violin and piano by Fritz Kreisler.
IMPRINT: Berlin : N. Simrock GmbH, 1914.
NOTES: Persinger’s signature appears on the cover. Both the violin part and piano part have markings but most of the markings are in the piano score (generally concerning matters of dynamics and pacing) whereas the violin part only has two markings.
Persinger box 8, folder 16
AUTHOR: Bach, Johann Sebastian.
TITLE: Sechs Sonaten für die Violine allein. [Sonata no. 2, Partita no. 2] / edited by Ferdinand David.
IMPRINT: Leipzig : Friedrich Kistner., [18--]
NOTES: This volume contains Sonata No. 2 and Partita No. 2 (BWV 1003 and 1004). They are mistakenly titled as Sonata 3 and 4 in this publication. The edition presents an edited part above the original text which is printed in smaller type. (Note however that a casual examination of the original text as presented in this edition reveals that it cannot be considered a critical text.) The title page has the name “Lila Groff Williams” written in the upper left.
Persinger box 8, folder 17
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonaten und Partiten für Violine solo / edited by Carl Flesch.
IMPRINT: Leipzig : C.F. Peters, 1930.
NOTES: The edition contains all the solo Sonatas and Partitas, with a foreword in German by Carl Flesch. Each movement in Sonata No. 1 and Partita No. 1 have a metronome marking penciled in and the Adagio and Fuga of Sonata No. 1 have some additional markings. The other Sonatas and Partitas have no markings. The edition presents an edited part above the original text which is printed in smaller type. The title page has the name “Lila Groff Williams” written in the upper left. On the back of the last page in the left corner is written in ink: “Happy Birthday” [/] - To Carl from Lila - [/] June 1st. 1935.
Persinger box 8, folder 18
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonate e Partite per Violino / edited by Gioacchino Maglioni.
IMPRINT: Milan: G. Ricordi & C., 1956.
NOTES: The edition contains all the solo Sonatas and Partitas, with a preface (dated December, 1955) in Italian, French, English, and German, by Gioacchino Maglioni. There are occasional footnotes explaining some editorial suggestions. There are no signatures or markings.
Persinger box 8, folder 19
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonates Pour le Violon / edited by Hubert Léonard.
IMPRINT: Paris : Constallat et Cie., [18--]
NOTES: The title page notes that this edition was edited with a view toward performance with the Schumann piano accompaniment. Although the edition contains all the Sonatas and Partitas, the Partitas are titled Sonata as well. Each movement in every Sonata and Partita has a metronome marking penciled in, and movements in Sonata No. 1, Partita No. 2 have other penciled markings as well (probably not in the hand of Persinger). The pages are printed in pressings. The title page is separated and is cut down to a smaller size compared to the sheet music (but it belongs to this score — noting that the catalog numbers match). The first page of the music has the name: Lila Groff Williams.
Persinger box 8, folder 20
AUTHOR: Bach, Johann Sebastian.
TITLE: Sechs Sonaten für Pianoforte und Violine: Vol. 1 / edited by Ferdinand David.
IMPRINT: Leipzig : C.F. Peters, [18--]
NOTES: The edition contains three (BWV 1014; 1015; 1016) of the six sonatas for harpsichord and violin edited (and possibly also harmonized) by David. The cover has written in the left corner: Lila Groff Williams. And near the middle is written: E.L. Groff. The first page of the violin part also has written: E.L. Groff.
Persinger box 8, folder 21
AUTHOR: Bach, Johann Sebastian.
TITLE: 6 Sonates à violon seul / edited by Lucien Capet.
IMPRINT: Paris : Éditions Maurice Senart, 1915.
NOTES: The edition is unique in its preface with a particular attention on bowing technique, and the inclusion of detailed notes on interpretation, technical instructions, and practice approaches at the head of each movement. (All the literary text is in French.) The music is also heavily annotated and edited with performance indications. The Partitas are also labeled as Sonatas in this edition. As for handwritten markings, Persinger’s signature appears on the cover, but there are no other markings. The score is in fragile condition.
Persinger box 8, folder 22
AUTHOR: Bach, Johann Sebastian.
TITLE: 6 Sonates à violon seul / edited by Lucien Capet.
IMPRINT: Paris : Éditions Maurice Senart, 1915; reprint Éditions Salabert, 1946.
NOTES: Series: Collection Maurice Senart. It is a reprint of the previous entry. There are neither signatures nor markings.
Persinger box 9, folder 1
AUTHOR: Bach, Johann Sebastian.
TITLE: Sechs Sonaten für Violine solo / edited by Joseph Hellmesberger; piano accompaniment by Robert Schumann.
IMPRINT: Leipzig : C. F. Peters, [18--]
NOTES: Persinger’s stamp appears on the front cover, and there is only a piano score. (For a matching separate violin part, please see Persinger box 9, folder 3.) The Partitas are also labeled as Sonatas in this edition. There is a folded sheet, on Persinger’s letterhead, found between pages 24 and 25, with written comments in pencil, in Persinger’s hand, which appear to be from a lesson or possibly a recording from a student. Of note is that the Ciaccona (spelled Chaconne here) is edited in a way that double barlines are placed to show divisions between each variation. Sonata No. 3 (labeled as Sonata V in this edition), except for the last movement Allegro assai, has, in the piano part, several markings in pencil, concerning dynamics. The markings are possibly in the hand of Persinger (although they are sloppier than usual). The binding is separated.
Persinger box 9, folder 2
AUTHOR: Bach, Johann Sebastian.
TITLE: Sechs Sonaten für Violine solo / edited by Joseph Hellmesberger; piano accompaniment by Robert Schumann.
IMPRINT: Leipzig : C. F. Peters, [18--]
NOTES: The edition is identical to the previous entry. The name “Lila Groff Williams” appears on the front cover, and there is only a piano score. (For a matching separate violin part, please see Persinger box 9, folder 3.) There are no markings in the score.
Persinger box 9, folder 3
AUTHOR: Bach, Johann Sebastian.
TITLE: Sechs Sonaten für Violine solo / edited by Joseph Hellmesberger.
IMPRINT: Leipzig : C. F. Peters, [18--].
NOTES: The name “Lila Groff Williams” appears on the cover. There are markings in pencil in Sonata No. 1 and Partita No. 3, probably not in the hand of Persinger. In Sonata No. 1, some of the markings seem to label beats, possibly in the interest of figuring out the rhythmic divisions of the measure and there is a tempo marking for the Presto. In Partita No. 3, there are tempo markings for Menuet 1, Bourée, and Gigue. Unlike the piano score, (as found in the previous two entries) the Ciaccona (spelled Ciaccona also unlike the piano score) does not have double bars between each variation.
Persinger box 9, folder 4
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonaten und Partiten für Violine allein: wth original text below / edited by Henri Marteau.
IMPRINT: Leipzig : Steingräber-Verlag, 1922.
NOTES: Persinger’s signature appears on the cover. The edition places the original text below the edited version, and the prefatory note mentions that, “The original part (printed in small notes) is the exact reproduction of the two manuscripts in the Berlin library.” There is a marking, in pencil, in the Fugue of Sonata No. 1; corrections of accidentals in the Grave of Sonata No. 2; corrections of notes in the Ciaccona (Chaconne) of Partita No. 2. The printed footnotes are only in German and French. The cover is in fragile condition.
Persinger box 9, folder 5
AUTHOR: Bach, Johann Sebastian.
TITLE: Sechs Sonaten für Violine solo / edited by Joseph Hellmesberger; revised by Carl Herrmann.
IMPRINT: Leipzig : C. F. Peters, [19--]
NOTES: This edition is a revised edition of the edition made by Hellmesberger. Persinger’s signature appears on the cover. There are: markings/corrections in pen in the Adagio of Sonata No. 1; corrected time signature in pencil in Fugue of Sonata No. 1; a marking in pencil in the Corrente Double in Partita No. 1; corrected note in pencil in the Allegro of Sonata No. 2; numerous markings in pencil in all movements except the Preludio in Partita No. 3. The cover has multiple tears.
SEE ALSO: Persinger box 9, folders 1, 2, and 3.
Persinger box 9, folder 6
AUTHOR: Bach, Johann Sebastian.
TITLE: 6 Sonaten für Violine / edited by Friedrich Hermann.
IMPRINT: Leipzig : Breitkopf & Härtel, [19--]
NOTES: Note that the editor Hermann is not the same person as the Herrmann in the previous entry. On the cover is Persinger’s signature, and above it is written “Sample.” The inner cover has a note, in Persinger’s hand, pondering on a bird call he probably heard at Blue Hill, Maine in 1938. There are markings throughout Sonata No. 1, Sonata No. 2, Partita No. 2 (labeled Sonata IV here), with signs probably referring to his own notes/interpretations and his comparison of the various Bach editions/interpretations. The Ciaccona in this edition separates each variation with a double bar. The Preludio in Partita No. 3 has corrections of notes in blue ink. The cover is separated at the spine.
SEE ALSO: Persinger box 4, folders 4, 22, 26, 27, and 28.
Persinger box 9, folder 7
AUTHOR: Bach, Johann Sebastian.
TITLE: Six Solo Sonatas and Partitas for Violin / edited by Demetrios Constantine Dounis.
IMPRINT: London: J.H. Lavender & Co., 1949.
NOTES: Series: The Strad Edition. There are no signatures, but there is one note correction in pencil in the Allemanda of Partita No. 2.
Persinger box 9, folder 8
AUTHOR: Bach, Johann Sebastian.
TITLE: Six Solo Sonatas and Partitas for violin solo / edited by Joseph Joachim and Andreas Moser.
IMPRINT: New York : International Music Company, [19--]
NOTES: There are no signatures. The edited version is placed above the original text. There are markings in pencil in the Adagio and Fugue, and Presto of Sonata No. 1, but none in the other Sonatas and Partitas. The cover seems to have some water damage.
Persinger box 9, folder 9
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonata 5 [i.e. Sonata no. 3 for violin, BWV 1005] ; Sonata 6 [i.e Partita no.3 for violin, BWV 1006] / edited by Ferdinand David.
IMPRINT: Leipzig : Friedrich Kistner, [1843?]
NOTES: The cover is a makeshift cover of brown paper, and titled on this cover probably in Persinger’s hand. There are markings in blue pencil in the Adagio and Fugue of Sonata No. 3 and markings in pencil in all movements of Partita No. 3 (titled Sonata 6). It is in fragile condition with several tears and a hole in the first page.
SEE ALSO: Persinger box 8, folder 16 for David’s edition of Sonata No.2 and Partita No. 2.
Persinger box 9, folder 10
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonatas & Partitas for solo violin / edited by Jan Hambourg.
IMPRINT: London: Oxford University Press, 1934.
NOTES: The cover, separated with the back missing, is stamped “complimentary” at the top and has Persinger’s signature. The inner cover has inscribed (most likely by Jan Hambourg): on top, “This edition is dedicated [/] to the memory of my master [/] Eugène Ysaÿe”; and in the middle right, “For my very [/] distinguished [/] colleague — [/]and old [/] friend [/] Louis Persinger [/] in souvenir [/] of our Godinne- [/] sur – Meuse studies! [/] from [/] Jan Hambourg [/] New York [/] April 7th 1935”; and to the left of that, “Le plus lent à promettre [/] est le plus fidèle à tenir” (trans. “The last to promise is the most faithful”). In the “Introductory Note,” there is a handwritten note, probably in Hambourg’s hand, explaining in greater detail Hambourg’s approach to trills. There are markings in black ink and one instance in pencil (in the Fugue) in Sonata No. 1; markings in black ink in the Allemanda and Sarabande of Partita No. 1; markings in black ink in the Grave of Sonata No. 2; a marking in black ink in the Allemanda and markings in pencil and black ink in the Ciaccona of Partita No. 2; markings in black ink in the Adagio, Fugue, and Largo of Sonata No. 3; markings in black ink in the Preludio, Louré, and Gavotte en Rondeau of Partita No. 3. The markings are generally corrections of the print. There are metronome suggestions in black ink for each movement throughout the set. Noting the use of the same black ink as the inscription, and the consistent use of markings set forth in the “Introductory Note,” the markings as well as the metronome suggestions are probably in Hambourg’s hand.
Persinger box 10, folder 1
AUTHOR: Bach, Johann Sebastian.
TITLE: Violin Sonatas / edited by Arnold Rosé.
IMPRINT: Vienna: Universal-Edition, [19--]
NOTES: Persinger’s signature appears on the upper left of the cover. There are no markings in the score.
Persinger box 10, folder 2
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonaten und Partiten / edited by Adolf Busch.
IMPRINT: Leipzig : N. Simrock, 1931.
NOTES: There are no signatures or markings, although the outside cover seems to be missing. Busch’s edition has written technical directions incorporated into the score.
Persinger box 10, folder 3
AUTHOR: Bach, Johann Sebastian.
TITLE: Six Sonatas for violin solo / edited by Leopold Auer.
IMPRINT: New York : Carl Fischer, 1917.
NOTES: Persinger’s signature appears on the cover. In the “List of Contents,” the Partitas, printed as “Sonatas” are corrected in title in pencil. There are markings in pencil in the Adagio, Sicilienne, and Presto in Sonata No. 1, and a remark in pencil in the Ciaccona in Partita No. 2.
Persinger box 10, folder 4
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonaten; violon seul: in two volumes / edited by Jenö Hubay.
IMPRINT: Vienna: Universal-Edition, [19--]
NOTES: The edition is presented in two volumes. Volume I contains Sonatas No. 1 and 2, and Partita No. 1. Volume II contains Partitas No. 2 and 3, and Sonata No. 3. The Partitas are labeled as Sonatas (and in the preface, Hubay acknowledges the labeling custom of his time). Persinger had both volumes, and each volume has his signature on the front cover. The preface (in Hungarian, German, English, and French) explains Hubay’s approach to the Sonatas and Partitas and remarks on each of the sonatas. Quite interesting to note is Hubay’s opinion about playing chords in Bach: [sic.] “... the chord must be played all the notes at once, and in any case not from the upper to the lower note in favour of the melodic Bass-note.” Hubay explains this further in the preface. Also of note is Hubay’s particular indications used throughout the edition for matters of bow distribution. There are no written markings in either volume. (N.B. A partially ‘unseparated’ page between page 33 and 36 at the end of volume II suggests that Persinger did not completely peruse this edition.)
Persinger box 10, folder 5
AUTHOR: Bach, Johann Sebastian.
TITLE: Sei Solo ã Violino / da Joh. Seb. Bach.
IMPRINT: Kassel: Bärenreiter-Verlag, 1950.
NOTES: Facsimile edition. Persinger’s signature appears on the inner cover: Louis Persinger [/] N.Y.C. [/] 1952. This hard cover edition is a facsimile of the autograph manuscript. There is an afterword in German describing the provenance of the manuscript. There are no markings.
Persinger box 10, folder 6
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonaten und Partiten für Violine allein: in two volumes / edited by Joseph Joachim and Andreas Moser.
IMPRINT: Berlin : Editions Bote & G. Bock, 1908.
NOTES: The set is in two volumes with a preface in German, French (translated by the violinist Henri Marteau), and English (translated by M. Radford). Volume I contains Sonatas No. 1 and 2, and Partita No. 1. Volume II contains Sonata No. 3 and Partitas No. 2 and 3. The foreword explains the edition’s approach and gives remarks regarding editorial decisions. In this edition, the edited version is placed above a transcription of the autograph. There are no signatures on either volume. In volume I, there are markings in pencil, probably in the hand of Persinger, in the Fugue and Presto of Sonata No. 1. There are no markings in volume II.
Persinger box 10, folder 7
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonaten und Partiten für Violine allein: in two volumes / edited by Joseph Joachim and Andreas Moser.
IMPRINT: Berlin : Editions Bote & G. Bock, 1908.
NOTES: For comments on the edition, please see the previous entry. In volume I, pages 1 to 10 (all of Sonata No. 1 and the first page of Partita No. I) are missing. There are no markings in volume I. In volume II, the cover, up to page 2 (which includes the preface repeated from volume I, and the first page of Partita No. 2) is missing. There are markings in pencil, possibly in the hand of Persinger, in the Fugue of Sonata No. 3 and in the Louré of Partita No. 3.
Persinger box 10, folder 8
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonaten und Partiten für Violine allein: volume II of II / edited by Joseph Joachim and Andreas Moser.
IMPRINT: Berlin : Editions Bote & G. Bock, 1908.
NOTES: For comments on the edition, please see Persinger box 9, folder 8. This is only volume II. Persinger’s signature appears on the front cover.
Persinger box 10, folder 9
AUTHOR: Bach, Johann Sebastian.
TITLE: Sechs Sonaten für Pianoforte und Violine / edited by Ferdinand David.
IMPRINT: Leipzig : C.F. Peters, [18--]
NOTES: This edition, custom bound, contains all six sonatas for harpsichord and violin edited (and possibly also harmonized) by David. Apparently the two volumes, volume I containing Sonatas 1 – 3 and volume II, starting from page 52, containing Sonatas 4 – 6 were bound together. The inner cover of each volume has Persinger’s stamp. There is only the keyboard score and no separate violin part. The top of Sonata V has the following inscription in pencil: Ysaÿe – Pugno [/] Leipzig.
SEE ALSO: Persinger box 8, folder 20.
Persinger box 10, folder 10
AUTHOR: Bach, Johann Sebastian.
TITLE: Sechs Sonaten für Violine solo / edited by Joseph Hellmesberger.
IMPRINT: Leipzig : C. F. Peters, [18--]
NOTES: Persinger’s stamp appears on the front cover. The page leaves are unbound. There are numerous markings, particularly in Sonata No. 1, and Partitas Nos. 1, 2 and 3, mostly in black ink and pencil, with purple pencil used in the Ciaccona. The markings include fingerings and bowings, other indications [such as Ysaÿe’s “employez tout l’archet” indication], as well as anecdotes, comments, and suggestions written mostly in English and French with an occasional remark in German, in the hand of Persinger. The score, the cover in particular, is in fragile condition. Page 37/8 (Gavotte en Rondeau and Menuet II of Partita No. 3), are missing chunks of paper resulting in a part of the score being lost. The last page/back cover also has multiple tears and is missing chunks of paper, but apparently nothing of the musical score is lost.
SEE ALSO: Persinger box 9, folders 1, 2, and 3.
Persinger box 10, folder 11
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonaten und Partiten für Violine solo / edited by Carl Flesch.
IMPRINT: Leipzig : C. F. Peters, 1930.
NOTES: Persinger’s signature appears on the cover. There are written comments, in pencil, in German and in Persinger’s hand, in the margins of Flesch’s preface. There are: markings in pencil in Sonata No. 1 with several remarks in English; no markings in Partita No. 1 and Sonata No. 3; markings in pencil in Sonata No. 2 and Partitas No. 2; markings in pencil in the Preludio and Gavotte en Rondeau of Partita No. 3. The score is in fragile condition with separated covers and a missing spine.
SEE ALSO: Persinger box 8, folder 17.
Persinger box 10, folder 12
AUTHOR: Dvorák, Antonin.
TITLE: Concert für Violine [Op. 53, A minor].
IMPRINT: Berlin : N. Simrock, GmbH, [19--]
NOTES: The cover of the piano reduction has Persinger’s signature along with a place and date, “Berlin, 1913.” The first page of the violin part has Persinger’s signature and the date “1913”. There are markings in pencil with remarks in German and English, both in the piano reduction and the violin part, possibly in the hand of Persinger. Peculiar are the numerous suggested cuts, found especially in the second and third movements. Of these cuts however, of particular note are a cut in the second movement and another at the end of the third movement that are noted as those “used by Dvorak.”
Persinger box 11, folder 1
AUTHOR: Menotti, Gian Carlo.
TITLE: Concerto for Violin and Orchestra / arranged. for violin and piano.
IMPRINT: New York : G. Schirmer, Inc., 1955, 1959.
NOTES: On the cover is Louis Persinger’s initials/logo. There is a note in ink on the first page of the violin part: “All the metronome marks are by Menotti himself.” The violin part has other markings in pencil and ink, including metronome marks written in the same type of ink as the note at the top of the first page. The piano part has several markings in pencil, ink, and red and blue crayon for the first movement, but is clean in the second and third movements.
Persinger box 11, folder 2
AUTHOR: Mozart, Wolfgang Amadeus.
TITLE: Concerte für Violine und Orchester / arranged. for violin and piano by Paul Graf Waldersee.
IMPRINT: Leipzig : Breitkopf & Härtel, [18--]
NOTES: On the cover and inside cover is written: “Louis H. Persinger.” The collection contains concertos Nos. 1 through 6 (i.e. including the spurious E-flat major KV268). All the concertos are extensively and heavily marked, with the exception of Concerto No. 2 in D major, KV 211 and No. 4 in D major, KV217 which have no markings. Worth noting is the level of detail in the markings, the mixture of English and French remarks, and how Ysaÿe’s employez tout-l’archet marking is also used in places. A curious note is on page 33 (at the top of the first page for Concerto No. 5): “Coryn – (pupil of Brussels Joachim).”
Persinger box 11, folder 3
AUTHOR: Bach, Johann Sebastian.
TITLE: Concert No. 2 in E dur für Piano und Violine.
IMPRINT: Leipzig : Edition Peters, [1884].
NOTES: The cover is pasted to cardboard. On the cover is stamped: “Louis H. Persinger” with the ‘H’ crossed out. Above and below this stamp is written in pencil: “Ysaye 2 mal Leipzig [/] 1 mal Brüssel.” (Ysaÿe, twice in Leipzig, once in Brussels.)
The violin part is extensively and heavily marked in pencil. At the top of the first page is the interesting remark: “Ysaye plays this sometimes with piano & harmonium for the organ part.”
The piano part is marked extensively in pencil. At the top of the second movement is written in ink: “Berlin – 18.3.10.”
Persinger box 11, folder 4
AUTHOR: Bloch, Ernest.
TITLE: Baal Shem. I, Vidui.
IMPRINT: New York : Carl Fischer, Inc., 1924.
NOTES: On the cover is inscribed in pencil: “a Louis Percinger [sic.] [/] Très cordialement [/] Ernest Bloch [/] S. Francisco [/] July 1924.” The violin part is extensively marked in pencil and the piano part has markings in pencil as well.
Persinger box 11, folder 5
AUTHOR: Bloch, Ernest.
TITLE: Baal Shem. II, Nigun.
IMPRINT: New York : Carl Fischer, Inc., 1924.
NOTES: Two copies. On the cover of one is written: “Louis Persinger” in pencil, and below: “(Played for the first time in [/] San Francisco, at the new [/] Temple Emanu-el, May 7th, ‘26, [/] with Ernest Bloch at the piano).” On the first page of the piano part is an inscription in pencil – apparently a quotation from Psalm no. 32. The violin part is marked in pencil, with written indications in French, including comments attributed to Bloch, and the piano part has markings in pencil as well.
On the cover of the second copy is Persinger’s logo/initials. The violin part is marked in pencil, with indications in English, and the piano part has markings in pencil as well.
Persinger box 11, folder 6
AUTHOR: Thomson, César.
TITLE: Exercises Thomson pour le Violon.
NOTES: This is a manuscript in black and red ink, and pencil, possibly in the hand of Ysaÿe’s copyist de Grom, copying the exercises of Thomson (probably César Thomson). On the top of the cover is written “Louis” in pencil and over that, “Louis H. Persinger” in pen. The paper used is branded: “SCHOTT FRÈRES, Bruxelles.” This could suggest that Persinger had these exercises transcribed during his studies in Belgium with Ysaÿe.
Persinger box 11, folder 7
AUTHOR: Nardini, Pietro.
TITLE: Concerto for Violin in E minor [1760] / arranged for violin and piano by Miska Hauser ; edited by Carl Nowotny.
IMPRINT: Leipzig : F.E.C. Leuckart, [1879; 1880].
NOTES: On the cover is written: “Louis H. Persinger” along with the names of places with dates between 1911 and 1912, presumably of concert performances. The violin part has numerous markings in pencil, with indications written in French and English. The piano part has numerous markings in pencil and blue crayon with indications written in German.
Persinger box 11, folder 8
AUTHOR: Lalo, Edouard.
TITLE: Concerto pour violon, Op. 20 / piano reduction by the composer.
IMPRINT: Paris : A. Durand & Fils., [1874].
NOTES: On the cover is written names of places with dates between 1907 and 1911, presumably of concert performances. On the first page of the violin part and cover of the piano part is written: “Louis Persinger.” The violin part has very few markings in pencil. The piano part has numerous markings in pencil with one instance of blue crayon, with fingerings and indications in German, French, and English.
Persinger box 11, folder 9
AUTHOR: Persinger, Louis.
TITLE: A Daily Study in Thirds.
NOTES: This is a manuscript in black ink, probably in Persinger’s hand. On the front is written: “Louis Persinger [/] A Daily Study [/] in [/] Thirds” with “D. Minty” written in the upper right corner. On the reverse is the exercise. Refer also to Persinger Collection Box 1, folder 2 Louis Persinger, “A daily study in thirds”
Persinger box 11, folder 10
TITLE: [Violin pieces selected by Persinger : violin parts only] / [Mozart ; Drdla ; Nachèz ; Svendsen ; Händel ; d’Ambrosio.]
NOTES: This is a collection of violin parts bound together subsequent to publication, with a cardboard cover and cloth spine. The cover has written on the upper right: “II. Violon.”
The first page has a table of contents, with “Louis Persinger” written at the bottom. Persinger’s signature or stamp appears on the cover of each individual piece. Note that the Ysaÿe Rêve d’enfant which is noted in the table of contents, is missing from the collection.
The contents read:
Adagio, E dur - - - - - - - - Mozart
Souvenir - - - - - - - - - - - -Drdla
Zigeunertänze, Op. 14 - - Nachèz
Rêve d’enfant, Op. 14 - - Ysaÿe
Romanze, Op. 26 - - - - - -Svendsen
Menuett (Burmester) - - - Händel
Sicilienne, Op. 14 - - - - - d’Ambrosio
[end]
The pieces are as follows:
AUTHOR: Mozart, Wolfgang Amadeus.
TITLE: Adagio für die Violine, KV261 / arranged for violin and piano by Fr. Hermann.
IMPRINT: Leipzig : Breitkopf & Härtel, [1883].
NOTES: Plate number: 16281. There is one marking in pencil indicating a cut at the end.
AUTHOR: Drdla, Franz.
TITLE: Souvenir.
IMPRINT: [Leipzig?] : [J. Weinberger?], [19--?]
NOTES: Plate number: J.W. 1367. There are no markings.
AUTHOR: Nachèz, Tivadar.
TITLE: Zigeunertänze, Op. 14.
IMPRINT: [Place of publication not identified] : [publisher not identified], [19--?]
NOTES: Plate number: 848. On the cover, Persinger writes the note “Leipzig” in addition to his name and the title of the work. There are several markings in pencil for the first dance, with indications in German. The second dance is free of markings.
AUTHOR: Svendsen, Johann S.
TITLE: Romanze, Op. 26.
IMPRINT: Copenhagen: Wilhelm Hansen, [1881].
NOTES: Plate number: 12601. The part is marked extensively in pencil, with indications in English.
AUTHOR: Händel, G. F.
TITLE: Menuett / edited by Willy Bermester.
IMPRINT: Berlin : Schlesinger’sche Buch-& Musikhandlung, 1904.
NOTES: Plate number: S.9278 (6). The part is marked extensively in pencil, with indications in English and French.
AUTHOR: d’Ambrosio, Alfredo.
TITLE: Sicilienne pour violon et piano, Op. 14.
IMPRINT: Offenbach am Main: Johann André, 1902.
NOTES: Plae number: 15646. The part has a few fingerings in pencil for the first line.
Persinger box 11, folder 11
AUTHOR: Hubay, Jenö.
TITLE: Der Zephir, Op 30 No. 5.
IMPRINT: [Paris?: J. Hamelle?, 19??]
NOTES: Violin part only. Plate number: J. 3384 H. On the top right corner is written: “Louis Persinger.” There are several markings in pencil, with indications in French and English.
Persinger box 11, folder 12
AUTHOR: Saint-Saëns, Camille.
TITLE: Troisième concerto pour violon.
IMPRINT: Paris : Durand, Schœnewerk et Cie., [1880].
NOTES: Violin part only. On the top right corner is written: “Louis Persinger.” The part is extensively marked in pencil, with indications in English and French.
SEE ALSO: Persinger box 14, folder 9: [Works for violin and orchestra] / [Beethoven, Brahms, Bruch, Saint-Saëns, Tchaikovsky, Sinding ; accompaniments arranged for piano]
SEE ALSO: Persinger box 13, folder 8: Violin Concerto No. 3 in B minor, Op. 61 / C. Saint-Saëns. New York : G. Schirmer, 1906.
Persinger box 11, folder 13
AUTHOR: Sarasate, Pablo de.
TITLE: Zapateado, Op. 23, No. 2.
IMPRINT: New York : G. Schirmer, 1911.
NOTES: Violin part only. The part is marked extensively in pencil. The handwriting however, could possibly be in another hand from Persinger.
Persinger box 11, folder 14
AUTHOR: Vieuxtemps, Henri.
TITLE: Rêverie: Adagio pour violon et piano, Op. 23, No. 2.
IMPRINT: [Place of publication not identifed] ; [publisher not identified], [18--?]
NOTES: Violin part only. Plate number: 4029. There are numerous markings in pencil.
Persinger box 11, folder 15
AUTHOR: Wieniawski, Henryk.
TITLE: Fantasy on themes from Gounod’s Faust, Op. 20.
IMPRINT: Paris : Choudens, [1876]
NOTES: The incomplete violin part only (pages 3 through 6). Plate number: A.C.3129. There are some markings in pencil.
Persinger box 11, folder 16
AUTHOR: Sarasate, Pablo de.
TITLE: Zigeunerweisen, Op. 20.
IMPRINT: Leipzig : Bartholf Senff, [1879].
NOTES: Violin part only. The part is in fragile condition and reinforced/covered by staff paper. The part is extensively marked in pencil.
Persinger box 11, folder 17
AUTHOR: Wieniawski, Henryk.
TITLE: Souvenir de Moscou, Op. 6.
IMPRINT: Paris : E. Fromont, [18--]
NOTES: Violin part only. The part is in fragile condition. The part is extensively marked in pencil, purple crayon, and ink, with examples of Sevcik exercises in the margin. There is a cut, with an alternate passage suggested, written in pencil on the front cover.
Persinger box 11, folder 18
AUTHOR: Wieniawski, Henryk.
TITLE: Souvenir de Moscou, Op. 6.
IMPRINT: Braunschweig: Henry Litolff’s Verlag, [18--?]
NOTES: Violin part only. On the cover is written: “Louis Persinger.” There seem to be no markings.
Persinger box 12, folder 1
AUTHOR: Bériot, Charles de.
TITLE: Concerto for Violin and Orchestra No. 7 in G major, Op. 76 / edited by A. Pollitzer.
IMPRINT: Mainz: B. Schott’s Söhne, [1851].
NOTES: Violin part only. On the cardboard cover is written: “Ch. de Bériot – [/] – op. 76 – [/] Violin concert g dur (no. 7) [/] violine.” There are markings in pencil and blue and red crayon. Of possible interest also is a catalog on the last page of works by Bazzini listed as published by Schott.
Persinger box 12, folder 2
AUTHOR: Fauré, Gabriel.
TITLE: Sonata for violin and piano in A major, Op. 13.
IMPRINT: Leipzig : Breitkopf & Härtel, [1877].
NOTES: Violin part only. On the cover is written in pencil: “Louis Persinger” The part is marked extensively in pencil, with indications in French.
Persinger box 12, folder 3
AUTHOR: Godard, Benjamin.
TITLE: Six Duettini pour 2 Violons et Piano, Op. 18.
IMPRINT: Copenhagen: Wilhelm Hansen, [1878?]
NOTES: At the top of the first page of each part is written in pencil: “Louis Persinger” All parts have markings in pencil.
Persinger box 12, folder 4
AUTHOR: Brahms, Johannes.
TITLE: Sonata for Piano and Violin in D minor, Op. 108.
IMPRINT: Berlin : Simrock, [18--].
NOTES: Title page only, with inscriptions in black ink of cities and dates, along with an inscription in pencil by Artur Schnabel (signed and dated “San Francisco [/] Feb. – 20 – 1923”)
SEE ALSO: Persinger box 13, folder 6.
Persinger box 12, folder 5
AUTHOR: Franck, César.
TITLE: Piano Quintet in F minor.
IMPRINT: Paris : Maison J. Maho/J. Hamelle, [18--]
NOTES: On the cover is written: “File No. 13 [/] Louis Persinger” with another name crossed out. At the top of each part is written: “Louis Persinger.” All parts have markings in pencil. The cello and piano parts has markings in blue crayon in addition to pencil.
Persinger box 12, folder 6
TITLE: [Works for violin] / [Ysaÿe, Wieniawski, Lalo, Vieuxtemps.]
NOTES: Hardcover volume of solo violin parts bound together subsequent to publication. On the corner edge is stamped “L.H.P.” and on the inner cover is written the contents. On the 3rd inside page is written “Louis H. Persinger” in the upper right corner and the initials “L.H.P.” in the lower right corner. Several of the markings contain comments or reflect ideas which may be of historic and anecdotal interest.
CONTENTS:
AUTHOR: Ysaÿe, Eugène.
TITLE: Chant d’Hiver, Op. 15.
IMPRINT: Paris : Enoch & Cie., 1902.
NOTES: Plate number: E. & C. 4880. There are markings throughout in pencil and purple crayon. Indications are in French and English. Some markings may possibly be in Ysaÿe’s hand, or at least guided by him.
AUTHOR: Saint-Saëns, Camille.
TITLE: Caprice d’après l’Etude en forme de Valse, Op. 52 / Arranged by Eugène Ysaÿe.
IMRPINT Paris : A. Durand & Fils, 189?.
NOTES: Plate number: D. & F. 6003. Markings throughout in pencil and purple crayon. Indications are mostly in French with some English. There is a note regarding how Thibaud plays a certain passage.
AUTHOR: Wieniawski, Henryk.
TITLE: Fantasie Brillante sur l’opéra Faust de Charles Gounod, Op. 20.
IMPRINT: Paris : Choudens, [1876]
NOTES: Plate number: A.C. 3129. The first page has a stamp at the bottom that notes the city Liège. The part is extensively marked, with indications in English, French, and German.
AUTHOR: Lalo, Edouard.
TITLE: Concerto in F major, Op. 20.
IMPRINT: Paris : A. Durand, [1874]
NOTES: Plate number: D.S. & Cie. 1682. The part is extensively marked, with indications in English and French, with notes as to how Thibaud makes a certain cut.
AUTHOR: Lalo, Edouard.
TITLE: Symphonie Espagnole., Op. 21.
IMPRINT: Paris : A. Durand, [19--?]
NOTES: Plate number: D.S. & Cie. 2051. The part is extensively marked in pencil and red crayon, with indications in English and French. Included are quotes by Marteau and von Reuter and notes about how Elman plays certain passages in the fourth movement.
AUTHOR: Vieuxtemps, Henri.
TITLE: Grand Concerto, Op. 10.
IMPRINT: [Paris] : [printed by Buttner-Thierry], [18--].
NOTES: Plate number: T 1017. The part is marked in pencil, with indications in English and French.
AUTHOR: Vieuxtemps, Henri.
TITLE: Violin Concerto No. 4 in D minor, Op. 31.
IMPRINT: Offenbach am Main : Jean André, [1855].
NOTES: Plate number: 7432. The part is extensively marked in pencil, with indications in English and French.
AUTHOR: Vieuxtemps, Henri.
TITLE: Violin Concerto No. 5 in A minor, Op. 37.
IMPRINT: Berlin : Bote & G. Bock, [1860?]
NOTES: The part is extensively marked in pencil, with indications in English and French.
SEE ALSO: Persinger box 15, folder 1 [Works composed or arranged for violin and piano] / [Ysaÿe, Wieniawski, Lalo, Vieuxtemps]
Persinger box 12, folder 7
AUTHOR: Bériot, Charles de.
TITLE: Violin Concerto No. 9, Op. 104.
IMPRINT: Mainz: B. Schott’s Söhne, [18--]
AUTHOR: Lipiński, Karol.
TITLE: Militär – Concert, Op. 21.
IMPRINT: Leipzig : Ernst Eulenburg, [18--]
NOTES: Piano reduction scores only, bound togther subsequent to publication. On the first page of the Bériot is stamped: “20 Jan 1902” and “Louis H. Persinger.” There are a few seemingly inconsequential markings in pencil.
The title page of the Lipiński has the stamp: “Louis H. Persinger” along with his name in pencil written on top of the stamp. There seem to be no markings.
Persinger box 12, folder 8
AUTHOR: Bériot, Ch. de.
TITLE: [Violin concertos no. 1, op. 16, and no. 6, op. 70] / [Ch. de Bériot]
NOTES: Solo violin parts only, bound together subsequent to publication. Imprint of op. 16: Mainz: B. Schott’s Söhne, [1836?]. Imprint of op. 70: Mainz: B. Schott’s Söhne, [1851?].
On the first page of the Violin Concerto No. 1 is written: “Louis H. Persinger [/] 14.4.1902”
On the first page of the Violin Concerto No. 6 is written: “Louis H. Persinger [/] May. 1902”
Both have markings in pencil. Concerto No. 6 has markings in blue crayon in addition to pencil.
Persinger box 12, folder 9
AUTHOR: Chausson, Ernest.
TITLE: Poème, Op. 25.
IMPRINT: Leipzig : Breitkopf & Härtel, [189-]
NOTES: Violin part only. The part is marked extensively in pencil. However, the handwriting appears to be significantly different from Persinger’s usual handwriting.
Persinger box 12, folder 10
AUTHOR: Händel, George Frideric.
TITLE: Sonata No. 3 for violin and piano in G minor.
IMPRINT: Leipzig : Breitkopf & Härtel, [1891?]
NOTES: On the cover of both the violin and piano parts is written: “Louis Persinger.” Both the violin and piano parts have markings in pencil with indications in French.
Persinger box 12, folder 11
AUTHOR: Milhaud, Darius.
TITLE: String Quartet in A minor.
IMPRINT: Paris : Durand & Cie, 1914.
NOTES: All parts of the above. Each part has “Quatuor [/] Darius Milhaud” written in pencil on the covers. On the Violin I part, “Louis Persinger” is added and on the Viola part, “File No. 25” is added. The Violin I, II, and Viola parts have markings in pencil. The cello part has markings in blue crayon.
Persinger box 12, folder 12
AUTHOR: Milhaud, Darius.
TITLE: Sonatine à Trois.
IMPRINT: United States: Music Press, Inc., 1947.
NOTES: All parts of the above. On the Violin and Viola part is written Persinger’s initials/logo and on the cello part is written: “Louis Persinger.” On the top of the Violin part is a note describing the premiere of the work in 1947. All parts have markings in pencil.
Persinger box 12, folder 13
AUTHOR: Ernst, Heinrich Wilhelm.
TITLE: Ungarische Melodien für Violine und Piano, Op. 22 / revised by Arno Hilf.
IMPRINT: Leipzig : C.F. Peters, [18--]
NOTES: In the right hand corner of the piano part is written: “Louis Persinger.” Similarly, in the right hand corner of the violin part is also written: “Louis Persinger.”
The piano part has some markings in pencil, including a cut apparently attributed to [César] Thomson. The violin part is also marked in pencil, with comments in French and performance indication attributed to Ysaÿe and Thomson. There are also notated passage alternatives and a written out cadenza.
Persinger box 13, folder 1
AUTHOR: Ravel, Maurice.
TITLE: Quatuor pour instruments à cordes.
IMPRINT: Paris : Durand & Cie, 1910.
NOTES: All parts of the above. On each is written Persinger’s initials/logo. All parts have markings in pencil. The cello part has markings mainly in blue and red crayon.
Persinger box 13, folder 2
AUTHOR: Tchaikovsky, Peter Ilich.
TITLE: Piano Trio in A minor, Op. 50.
IMPRINT: Leipzig : D. Rahter, [18--]
NOTES: Two copies of the violin and cello parts. On the cover/wrapper, is written: “Louis Persinger [/] N.Y.C. [/] 1959” in ink. On the cover of the piano is written: “Louis Persinger” in pencil. On the cover of one set of the violin and cello parts, his name is written in ink. On the other set, his name is written in pencil. On the cello part with Persinger’s name in ink, is written another name “Silva” in pencil.
The piano part has markings in pencil. The violin part with Persinger’s name in ink is extensively marked in pencil and ink. The cello part with Persinger’s name in ink has markings in pencil and red crayon.
The other copy of the violin part is extensively marked in pencil and blue crayon, though not as heavily as the previously described copy.
The other of the cello part, is extensively marked in blue crayon.
Persinger box 13, folder 3
AUTHOR: Vieuxtemps, Henri.
TITLE: Morceau de Salon: Air Varié, Op. 22 No. 2.
IMPRINT: Berlin : Bote & G. Bock, [1846?]
NOTES: On the cover of both the violin and piano part is stamped: “Louis H. Persinger” along with the date: “5/28/1903.” The piano part is marked in pencil with indications in English and French. The violin part is extensively marked in pencil with some purple crayon, with indications in French.
Persinger box 13, folder 4
AUTHOR: Wieniawski, Henryk.
TITLE: Capriccio-Valse, Op. 7.
IMPRINT: Berlin : Bote & G. Bock, [1846?]
NOTES: A copy of the above, with a second, older violin part. On the cover is written in pencil: “Louis Persinger” and on the first page of the piano part is written “Persinger.” Both copies of the violin part and the piano part have numerous markings in pencil.
Persinger box 13, folder 5
AUTHOR: Wieniawski, Henryk.
TITLE: Légende, Op. 17.
IMPRINT: Leipzig : Franz Kistner, [18--]
NOTES: On the cover is written: “Louis Persinger” twice, on top of each other. As well, there is a note in pencil: “Berlin (Philharmonie) [/] 1.1.1915.” Both the violin and piano part are marked extensively in pencil. The piano has indications in German. The violin part has indications in English and French.
Persinger box 13, folder 6
AUTHOR: Brahms, Johannes.
TITLE: Sonata for Violin and Piano in D minor, Op. 108.
IMPRINT: Berlin : N. Simrock, ǂc [19--]
NOTES: Plate number: 9196. On the cover of the violin part and first page of the piano part is written: “Louis Persinger” twice, on top of each other. There is also an unidentified doodle in pencil. Both the violin and piano part are marked in pencil.
Note that this may belong to the separated cover, cataloged in:
Persinger box 12, folder 4 Brahms – Violin Sonata in D minor, Op. 108 [title page cover only – inscription by Artur Schnabel].
Persinger box 13, folder 7
AUTHOR: Beethoven, Ludwig van.
TITLE: Romances, Op. 40 and 50 / edited by August Wilhelmj.
IMPRINT: Leipzig : C.F. Peters, [18--]
NOTES: On the cover of the violin part and first page of the piano part is written: “Louis H. Persinger” and “Berlin, 28-11-14. (g+F.)”. On the inside cover and violin part is written: “Louis H. Persinger.” Both the violin and piano part are marked in pencil. The piano has numerous markings for the violin line, including modifications for the solo violin to participate in some of the tutti passages and expanded notation for the turns, with text in English, and German on page 7. The violin part is extensively marked, with comments in English and French explaining technical details. Considering the type of markings used, the markings in the violin part were most likely overseen by Ysaÿe. The markings in the piano part may have been from another source.
Persinger box 13, folder 8
AUTHOR: Saint-Saëns, Camille.
TITLE: Violin Concerto No. 3 in B minor, Op. 61.
IMPRINT: New York : G. Schirmer, 1906.
NOTES: On the cover is written: “Louis Persinger.” The violin part is taped at the spine and is extensively marked. The piano part has indications in English and French, with some markings in blue crayon and ink (for the piano part). The markings suggest an approach that is probably different from Ysaÿe’s.
SEE ALSO: Persinger box 11, folder 12. Saint-Saëns, Camille. Troisième concerto pour violon. Paris : Durand, Schœnewerk et Cie., [1880].
SEE ALSO: Persinger box 14, folder 9. [Works for violin and orchestra] / [Beethoven, Brahms, Bruch, Saint-Saëns, Tchaikovsky, Sinding ; accompaniments arranged for piano].
Persinger box 13, folder 9
AUTHOR: Ernst, Heinrich Wilhelm.
TITLE: Violin Concerto in F-sharp minor, Op. 23; revised by Arno Hilf.
IMPRINT: Leipzig : C. F. Peters, [18--]
NOTES: Inserted is a loose manuscript notating [César] Thomson’s alternate ending for the piece. On the cover of the piano part and first page of the violin part is written: “Louis H. Persinger.” The piano part has numerous cross-outs/cuts and adjusted dynamics in purple crayon. The violin part is extensively marked in pencil, with alternate passages. Notable is that the markings are written in a manner as if directed toward another person, with hints for practicing methods. This may have been the case, if Persinger had designed this to be used by his own students.
This example is rare in that it offers an unusual level of detail and ‘instruction’ to the third-person player.
Persinger box 13, folder 10
AUTHOR: Goldmark, Carl.
TITLE: Violin Concerto in A minor, Op. 28.
IMPRINT: New York : Carl Fischer, 1922.
NOTES: On the cover of the violin part, there is Persinger’s logo. The violin part is extensively marked in pencil. There are several fingerings and markings in parantheses, sometimes with the note “Koch.” accompanying them. (This most likely is an abbreviation for “Kochanski” as it is written on page 7. The reference may possibly be to Paul Kochanski, the violinist.)
The piano part has markings in pencil as well, generally for cuts and dynamics.
Persinger box 13, folder 11
AUTHOR: Goldmark, Carl.
TITLE: Violin Concerto in A minor, Op. 28.
IMPRINT: Bremen : Schweers & Haake, 1870.
NOTES: On the cover of the piano part, and the first page of the violin part, there is Persinger’s logo. The violin part is extensively marked in pencil, though differently compared to the previous item (i.e. Carl Fischer edition). The piano part also has markings in pencil, generally for cuts and dynamics.
Persinger Box 14, folder 1
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonatas and Partitas for solo violin: volume 1 / edited by Joseph Joachim and Andreas Moser.
IMPRINT: Berlin : Bote & Bock, 1908.
NOTES: This volume contains Sonatas No. 1 in G minor BWV1001 and No. 2 in A minor BWV1003, and Partita No. 1 in B minor BWV1002. Cover is separated. The edition uses two staves to represent an edited version and the ‘original.’ The copy is free of markings.
Persinger Box 14, folder 2
AUTHOR: Bach, Johann Sebastian.
TITLE: Sonatas and Partitas for solo violin: volume 2 / edited by Joseph Joachim and Andreas Moser.
IMPRINT: Berlin : Bote & Bock, 1908.
NOTES: This volume contains Sonata No. 3 in C major BWV1005, and Partitas No. 2 in D minor BWV1004 and No. 3 in E major BWV1006. Cover is torn. The edition uses two staves to represent an edited version and the ‘original.’ The copy is free of markings.
Persinger Box 14, folder 3
AUTHOR: Corelli, Arcangelo.
TITLE: La Folia / arranged by Hubert Leonard ; edited by Issay Barmas ; orchestrated by Max Reger.
IMPRINT: Brussels : Schott Frères, 1914.
NOTES: The edition consists of a solo violin part and a piano part that has indications for instrumentation. The copy is free of markings.
Persinger Box 14, folder 4
AUTHOR: Wagner, Richard
TITLE: Orchestral Studies: First Violin: Volume 1 / edited by Robert Künzel.
IMPRINT: Leipzig : Breitkopf & Härtel, [18--]
NOTES: The edition is a collection of excerpts for the First Violin part in Wagner’s works. The copy is free of markings.
Persinger Box 14, folder 5
AUTHOR: Schoenberg, Arnold.
TITLE: Verklärte Nacht, Op. 4.
IMPRINT: Berlin : Universal Edition – Verlag Dreililien, [1899?]
NOTES: This is the sextet version, with all parts.
Violin I is marked in pencil, most likely in Persinger’s hand.
Violin II is marked in pencil, in an unidentified hand, and has a sizable tear/hole from the middle of the spine toward the upper middle of the last page (page 11).
Viola I is marked in pencil, in an unidentified hand.
Viola II is marked in pencil, in an unidentified hand.
Cello I has a single marking in pencil on the last page (page 10).
Cello II is marked in blue crayon, in an unidentified hand.
Persinger Box 14, folder 6
AUTHOR: Senallié, Jean Baptiste.
TITLE: Allegro Spiritoso / arranged for violin and piano by J. Salmon.
IMPRINT: Paris : Ricordi, 1914.
NOTES: The edition includes a notice that the name J. Salmon must be mentioned with this work. Both the violin and piano parts are marked in pencil, most likely in Persinger’s hand. A Palo Alto (CA) address is written in pencil on the cover.
Persinger Box 14, folder 7
AUTHOR: Wieniawski, Henryk.
TITLE: Violin Concerto No. 2 in D minor, Op. 22 / edited by A. Pollitzer.
IMPRINT: Mainz: B. Schott’s Söhne, [1879].
NOTES: Only the violin part, and one leaf of the piano part (pages 3 and 4), of the above. The cover has Persinger’s stamp. The part is extensively marked mostly in pencil with one instance in ink and two instances in red crayon, in Persinger’s hand. The markings are mostly in French, with some German, and appear to be written in as a transcription rather than as a working copy. The remarks include notes about performance practice and how to practice passages, as well as annotations as to how some performers such as Burmester and Ysaÿe had played certain passages. The single leaf of the piano part shows a cut.
Persinger Box 14, folder 8
AUTHOR: Wieniawski, Henryk.
TITLE: Polonaise Brillante, Op. 21 / edited by A. Pollitzer.
IMPRINT: Mainz: B. Schott’s Söhne, [1875?]
NOTES: On the covers of both the violin and piano parts is Persinger’s signature. The violin part is extensively marked in pencil, in Persinger’s hand, with remarks in English, French, and German. The piano score is free of markings.
Persinger Box 14, folder 9
TITLE: [Works for violin and orchestra] / [Beethoven, Brahms, Bruch, Saint-Saëns, Tchaikovsky, Sinding ; accompaniments arranged for piano].
NOTES: The scores were bound together subsequent to publication, and the parts similarly bound together in a separate volume. The violin parts are extensively marked in pencil, in Persinger’s hand. The Saint-Saëns is marked also with purple color pencil. Between several of the works, there are pages of text with thoughts about music and repertory, some attributed to others, such as Ysaÿe. The piano parts are marked in pencil and blue crayon, including what appears to be information about performance dates for the Bruch Violin Concerto No. 2.
CONTENTS:
AUTHOR: Beethoven, Ludwig van.
TITLE: Violin Concerto in D major, Op. 61.
IMPRINT: Leipzig : Steingräber Verlag, [18--?}
AUTHOR: Brahms, Johannes.
TITLE: Violin Concerto in D major, Op. 77.
IMPRINT: Berlin : Simrock, [1879].
AUTHOR: Bruch, Max.
TITLE: Violin Concerto No. 2 in D minor, Op. 44.
IMPRINT: Berlin : Simrock, [1878].
AUTHOR: Bruch, Max.
TITLE: Scottish Fantasy, Op. 46.
IMPRINT: Berlin : Simrock, [1880].
AUTHOR: Saint-Saëns, Camille.
TITLE: Violin Concerto No. 1 in A major, Op. 20.
IMPRINT: Paris : J. Hamelle/J. Maho, [18--]
AUTHOR: Saint-Saëns, Camille.
TITLE: Violin Concerto No. 3 in B minor, Op. 61.
IMPRINT: Paris : A. Durand & Fils, [18--]
AUTHOR: Tchaikovsky, Peter Ilich.
TITLE: Violin Concerto in D major, Op. 35.
IMPRINT: Leipzig : Steingräber Verlag, [18--?}
AUTHOR: Sinding, Christian.
TITLE: Violin Concerto in A major, Op. 45.
IMPRINT: Copenhagen: Wilhelm Hansen, [1898?]
SEE ALSO: Persinger Box 11, folder 12. Saint-Saëns, Camille. Troisième concerto pour violon. Paris : Durand, Schœnewerk et Cie., [1880].
SEE ALSO: Persinger Box 13, folder 8. Saint-Saëns, Camille. Violin Concerto No. 3 in B minor, Op. 61. New York : G. Schirmer, 1906.
Persinger box 15, folder 1
TITLE: [Works composed or arranged for violin and piano] / [Ysaÿe, Wieniawski, Lalo, Vieuxtemps]
NOTES: Various imprints. Scores bound together subsequent to publication. On the lower right corner of the cover is embossed: “L.H.P.” [Louis H. Persinger]. Persinger’s name appears on the first page of each score as well. Most of the scores appear to have been cut down in size to fit the binding.
CONTENTS:
AUTHOR: Ysaÿe, Eugène.
TITLE: Chant d’Hiver, Op. 15.
IMPRINT: Paris : Enoch & Cie., 1902.
NOTES: Plate number: E. & C. 4880. Caption includes Persinger’s signature and an instructive description in English. The part is marked in pencil and purple crayon, with a few comments/indications in English and French.
AUTHOR: Saint-Saëns, Camille.
TITLE: Caprice d’après l’Etude en forme de Valse, Op. 52 / arranged by Eugène Ysaÿe.
IMPRINT: Paris : A. Durand & Fils, 189?.
NOTES: Plate number: D. & F. 6003. Occasional markings in pencil and purple crayon.
AUTHOR: Wieniawski, Henryk.
TITLE: Fantasie Brillante sur l’opéra Faust de Charles Gounod, Op. 20.
IMPRINT: Paris : Choudens, [18--?}
NOTES: Plate number: A.C. 3129. On the title page are two places/dates – Brussels (1907) and Blankenberghe (a town in Belgium) (1908), possibly logging Persinger’s performances of this piece. The part has numerous markings (many of them for cuts) in pencil, orange crayon, and blue crayon. Comments are in English and French. One comment of interest is attributed to Ysaÿe insisting some cut material to be re-instated.
AUTHOR: Lalo, Edouard.
TITLE: Concerto in F major, Op. 20.
IMPRINT: Paris : A. Durand & Fils, [189-].
NOTES: Plate number: D.S. & Cie. 1682. On the front page are three places/dates – Brussels (1907 and 08) and London (1907), possibly logging Persinger’s performances of this piece. There follows a blank page with Persinger’s signature. The part has numerous markings in blue and purple crayon, with indications in French and English, including some fingerings for the piano, some of which may possibly be in Ysaÿe’s hand.
AUTHOR: Lalo, Edouard.
TITLE: Symphonie Espagnole., Op. 21.
IMPRINT: Paris : A. Durand & Fils, [189-]
NOTES: Plate number: D.S. & Cie. 2051. On caption is written: “Cuts by Marteau(?)” There are markings in pencil, in German and French. There are no markings in the Intermezzo.
AUTHOR: Vieuxtemps, Henri.
TITLE: Grand Concerto, Op. 10.
IMPRINT: Paris : C. Joubert, [18--?}
NOTES: Plate number: T. 1017. There are almost no markings, except a few in pencil in English, in the last movement.
AUTHOR: Vieuxtemps, Henri.
TITLE: Violin Concerto No. 4 in D minor, Op. 31.
IMPRINT: Offenbach am Main: Jean André, [1855].
NOTES: Plate number: 7432. Placed before the first page of this piano part are two sheets of paper that appear to be radio emcee scripts for introducing Fredell Lack (a pupil of Persinger’s) playing the Vieuxtemps Concerto No. 4. At the top of the first page are places/dates – Liège (1907), Winnipeg (1909), possibly logging Persinger’s performances of this piece. The part is extensively marked in pencil and blue crayon, in German and English. There is a marking “Die Sprünge mit blauer stift geltan.” (in blue crayon) with the translation “Blue cut is good!” (in pencil) below. There are other instances where the German is translated to English. The third movement (Scherzo) is cut/has no markings. (Markings return in similar style to the previous movements the final fourth movement.)
AUTHOR: Vieuxtemps, Henri.
TITLE: Violin Concerto No. 5 in A minor, Op. 37.
IMPRINT: Berlin : Bote & G. Bock, [1860?]
NOTES: Plate number: 5445. There are some markings in pencil and purple crayon (mostly for cuts).
SEE ALSO:: Persinger box 12, folder 6 Collection of violin works [violin part only] [Ysaÿe, Wieniawski, Lalo, Vieuxtemps]
Persinger box 15, folder 2
AUTHOR: Kreutzer, Rodolphe
TITLE: 42 Etudes / edited by Edmund Singer.
IMPRINT: Bremen : Schweers & Haake, [18--?]
AUTHOR: Fiorillo, Federigo.
TITLE: 36 Etudes / edited by Edmund Singer.
IMPRINT: Bremen : Schweers & Haake, [18--?]
NOTES: Series: Studien-Werke für Violine / revidiert von Edmund Singer ; v. 1-2. The two sets of etudes are bound in one leather and paper-bound volume. On the lower right corner is embossed the letters: “L. H. P.” [Louis H. Persinger].
Several of the etudes are marked up in pencil, with occasional red and blue crayon, with many bearing a date in 1930 with the name, “(Rolf)” [possibly in reference to Louis Persinger’s son, renowned violist Rolf Persinger]. Comments are mostly in English with one instance in French.
Persinger box 15, folder 3
AUTHOR: Ysaÿe, Eugène.
TITLE: Sonate pour violon seul en ré mineur, Op. 27 No. 3.
IMPRINT: Brussels : Editions Ysaÿe, 1924.
NOTES: Only the cover and first page of the above. On the cover is written and crossed out: “Rolf” with Louis Persinger’s logo in ink below. The first page is marked extensively in pencil. Note that this page is from the first edition of the Six Sonatas (when they were published individually).
Persinger box 15, folder 4
AUTHOR: Beethoven, Ludwig van.
TITLE: String Quartets Op. 18.
IMPRINT: Leipzig : C. F. Peters, [18--?}
NOTES: The parts are in paper cover wrappers. On one cover is written: “File No 96 [/] Beethoven Quartets Op. 18.” in ink, along with “Persinger” in pencil. Likewise, the title pages of each of the parts has written: “File No. 96” along with Persinger’s name and the instrument that the part belongs to.
Violin I is extensively marked in pencil for Quartets 1, 2, 4, 5, and 6.
Violin II is extensively marked in blue crayon and for Quartet 1, and pencil for 2, 4, 5, and 6.
Viola is lightly marked in pencil for Quartet 1, 2, 5, and 6, and blue crayon and pencil for 4. There is an attachment for Quartet 5.
Cello is extensively marked in blue crayon and some pencil for Quartet 1, 4, 5, and 6, and in pencil for 2.
Persinger box 15, folder 5
AUTHOR: Chausson, Ernest.
TITLE: Concert en ré majeur pour piano, violon, et quatuor à cordes, Op. 21.
IMPRINT: Paris : Rouart, Lerolle & Cie., [1892?]
NOTES: The hard cover title cover, and the piano score, is designed to be read landscape, has written: “Louis Persinger” in pencil. The parts are in portrait.
The solo violin part has written: “Louis Persinger” on the first page. It is marked in pencil, of which it is often further traced and reinforced in ink.
The Violin I part has written: “L.P.” on the first page. It is extensively marked in pencil with one spot further traced and reinforced in ink.
The Violin II part has written: “L.P.” on the first page. It is extensively marked in pencil, with some places (including the same spot as Violin I) traced and reinforced in ink. The handwriting is in some places, in an obviously different hand compared to Persinger’s.
The Viola part has written: “L.P.” on the first page. It is marked in pencil, with some places (including the same spot as Violin I) traced and reinforced in ink.
The Cello part has written: “L.P.” on the first page. It is extensively marked in pencil and blue crayon.
The Piano score has written on the title page: “Louis Persinger” along with the note and names: “Juilliard. Dec. 21st, 1943. [/] Louise Meirzner [/] Fredell Lack – [/] — [/] Rena Robbins – [/] John Fiarca – [/] L.P. [logo] [/] Beverly LeBeck – ” As such, most likely Persinger played the viola part, and Fredell Lack the solo violinist. The part is marked in pencil, with some spots traced and reinforced in ink.
Persinger box 16, folder 1
AUTHOR: Dohnanyi, Ernő.
TITLE: Serenade for violin, viola, and violoncello, Op. 10.
IMPRINT: Vienna: Ludwig Doblinger, 1904.
NOTES: The set is covered by a paper wrapper/cover and on the front is written: “File No. 108” in pencil in the upper right corner, and underneath, “Ernest von Dohnanyi [/] Serenade [/] violine, viola Violoncello.[sic.]”
The Violin part has written on the title page: “File No. 108” and on the first page of the music: “File No. 108 [/] L.P. [logo]” The part is extensively marked in pencil and a few places in red and blue crayon, with handwritten passages added to facilitate easier page turns.
The Viola part has written on the first page of music: “File No. 108 [/] L.P. [logo]” The part is extensively marked in pencil, with one instance of blue crayon. There is one manuscript page in blue ink to facilitate a page turn.
The Cello part has written on the first page of music: “Louis Persinger. [/] File No. 108 [/] Ferner[?]” The part is extensively marked in blue crayon and pencil.
Persinger box 16, folder 2
AUTHOR: Dohnanyi, Ernő.
TITLE: Quartet No. 3 in A minor, Op. 33.
IMPRINT: Budapest: Rózsavölgyi, 1926.
NOTES: The outer cover has written on top: “Louis Persinger” and on the inside cover: “Louis Persinger [/] Santa Barbara. [/] 1927[?]”
The Violin part has markings in pencil and blue crayon.
The Violin II part has markings in pencil.
The Viola part has some markings in pencil, and a copied-out manuscript page, in ink, to facilitate a page turn.
The Cello part has markings in blue crayon and pencil. At the end is written in the lower margin: “W. V. Ferner [/] S. Francisco [/] Cal. [/] U.S.A. [/] Aug. 1927.”
Persinger box 16, folder 3
AUTHOR: Dvořák, Antonín.
TITLE: Sonatina for violin and piano, Op. 100.
IMPRINT: Berlin : Simrock, 1894.
NOTES: On the cover and inside cover of the piano sore is written in pencil: “Louis Persinger.” The violin part has written on the first page: “Louis Persinger” along with an inscription in German: “Das es nicht banal klingt!” The part is marked in pencil, with indications in French, German, and English. The piano part has markings in pencil and blue crayon.
Persinger box 16, folder 4
AUTHOR: Elgar, Edward.
TITLE: La Capricieuse.
IMPRINT: New York : Breitkopf & Hartel, 1893, 1917.
NOTES: On the cover of the piano part is written: “Louis Persinger [/] Rolf” with a circle around “Rolf” (Louis Persinger’s son). On the cover of the violin part is written: “La Capricieuse – Elgar. [/] Louis Persinger.” The violin part has a molding spot. The part is marked in pencil.
Persinger box 16, folder 5
AUTHOR: Fauré, Gabriel.
TITLE: Berceuse, Op. 16.
IMPRINT: Paris : J. Hamelle/J. Maho, [18--?}
NOTES: On the cover and inner cover of the piano part and violin part is written: “Louis Persinger.” The violin part is marked in pencil. The piano part seems free of markings.
Persinger box 16, folder 6
AUTHOR: Sauret, Emile.
TITLE: Cadenza for Paganini Concerto No. 1.
IMPRINT: Bonn: Rob. Forberg, [18--?}
NOTES: There are a few markings in pencil.
Persinger box 16, folder 7
AUTHOR: Sauret, Emile.
TITLE: Cadenza for Paganini Concerto No. 1; revised by Ossy Renardy.
IMPRINT: New York : Edward B. Marks, 1943.
NOTES: There appear to be no markings.
Persinger box 16, folder 8
AUTHOR: Busch, Adolf.
TITLE: Cadenza for Brahms’ Violin Concerto.
IMPRINT: Leipzig : Breitkopf & Härtel, 1933.
NOTES: There appear to be no markings.
Persinger box 16, folder 9
AUTHOR: Ysaÿe, Eugène.
TITLE: Cadenzas to the Mozart Concerto in G major No. 3.
NOTES: A manuscript, possibly created during Persinger’s years studying with Ysaÿe. Some of the written comments are probably in the hand of Ysaÿe.
Persinger box 16, folder 10
AUTHOR: Dierich, F.
TITLE: Cadenzas to the Mozart Concerto in G major No. 4.
NOTES: A manuscript, possibly in the hand of the composer, Dierich. On the reverse of the paper fragment is written: “Mr. Louis Persinger, Concertmaster. With Compliments. [/] San Francisco October 1920. F. Dierich.”
Persinger box 16, folder 11
AUTHOR: Varga, Ruben George.
TITLE: Cadenza to Paganini Concerto No. 1.
NOTES: A manuscript. The three pages are in one piece.
Persinger box 16, folder 12
AUTHOR: Kreisler, Fritz.
TITLE: Cadenza to Beethoven Concerto, first movement.
NOTES: A manuscript probably in the hand of Leonid Bolotine. At the end is written: “Copied by Leonid Bolotine, from a phonograph record.”
Persinger box 16, folder 13
AUTHOR: Salles, Marcos R. de.
TITLE: Sonho de Tartini Cadencia para a sonata em sol menor (Trillo del Diavolo).
IMPRINT: Rio de Janeiro: Casa Stradivari [18--?}
NOTES: On the cover is written: “Ao Grande Mestre [/] Louis Persinger [/] uma pequene lembrança [/] de Brasil [/] Marena Salles” There are no markings otherwise.
Persinger box 16, folder 14
AUTHOR: Nováček, Ottokar.
TITLE: Cadenzas to Beethoven’s Violin Concerto, Op. 61.
IMPRINT: Leipzig : Breitkopf & Härtel, 1899.
NOTES: On the cover is written “L.P.” [logo]. This cadenza is based on the cadenza (for the piano version) written by Beethoven.
Persinger box 16, folder 15
AUTHOR: Heerman, Hugo.
TITLE: Cadenzas to Brahms Violin Concerto.
IMPRINT: Berlin : Simrock, 1895.
NOTES: Two copies.
On the cover of one is written: “Louis Persinger” and also “Berlin, 31 – 7 – 15.” The part is marked in pencil, with indications in English and French.
On the cover of the other copy is written: “Louis Persinger” The part has one marking in pencil.
Persinger box 16, folder 16
AUTHOR: Joachim, Joseph.
TITLE: Cadenzas to Brahms Violin Concerto.
IMPRINT: Berlin : Simrock, 1902.
NOTES: On the cover is written: “Louis Persinger” The part has markings in pencil.
Persinger box 16, folder 17
AUTHOR: Vitetta, Mario.
TITLE: Cadenza for the first movement of Paganini’s Concerto [no. 1] in D major.
IMPRINT: New York : G. Ricordi & Co., Inc., 1940.
NOTES: Two copies. Both copies seem free of markings.
Persinger box 16, folder 18
AUTHOR: Kreisler, Fritz.
TITLE: Three Cadenzas for the Beethoven Violin Concerto.
IMPRINT: New York : Carl Fischer, Inc., 1928.
NOTES: Two copies.
One copy does not have Persinger’s name or initials. In this copy, there are markings in pencil and blue ink.
The other copy has on the cover: “L.P.” [logo]. In this copy, there are markings only in pencil.
Persinger box 16, folder 19
AUTHOR: Van Putten, Melchior.
TITLE: Cadenzas to Beethoven Concerto.
IMPRINT: Amsterdam: G. Alsbach & Co., 1953?
NOTES: A copy of the above, along with a letter (date April 23, 1953) of introduction for the work addressed to Louis Persinger, stapled onto the cover. The letter is from the “Committee for Netherlands Music” and expresses the intent to introduce van Putten’s work to Persinger. The score is free of markings.
Persinger box 16, folder 20
AUTHOR: Saint-Saëns, Camille.
TITLE: Cadenzas to Beethoven Concerto.
IMPRINT: Paris : Durand & Fils, [18--?}
NOTES: On the cover is Louis Persinger’s logo. The score is in fragile condition. The score is free of markings.
Persinger box 16, folder 21
AUTHOR: Wilhelmj, August.
TITLE: Cadenzas to Beethoven Concerto.
IMPRINT: Berlin : Lichterfelde, [18--?]
NOTES: The score is free of markings.
Persinger box 16, folder 22
AUTHOR: Busoni, Ferruccio.
TITLE: Cadenzas to Beethoven Concerto.
IMPRINT: Leipzig : Breitkopf & Härtel, 1915.
NOTES: The score is free of markings. Note that one very interesting feature of this cadenza is the accompaniment of violins I and II, cello and bass, and timpani, in the cadenza to the first movement.
Persinger box 16, folder 23
AUTHOR: Quiroga, Manuel.
TITLE: Cadences pour le Concerto [no. 3, K. 216] en Sol de Mozart.
IMPRINT: Paris : Editions Salabert, 1939.
NOTES: There are no markings.
Persinger box 16, folder 24
AUTHOR: Spalding, Albert.
TITLE: Cadenzas for the Concerto in D, no. 4, K 218 by Mozart.
IMPRINT: Pittsburgh: Volkwein Bros. Inc., 1948.
NOTES: There are no markings.
Persinger box 16, folder 25
AUTHOR: Ysaÿe, Eugène.
TITLE: Cadenzas to Viotti No. 22.
IMPRINT: Brussels : Schott Frères, 1936.
NOTES: There are a few markings (for accidentals) in pencil.
Persinger box 16, folder 26
AUTHOR: Ysaÿe, Eugène.
TITLE: Cadences pour le Concerto pour violon no. 3 (K. 216) sol majeur, de W.A. Mozart
IMPRINT: Brussels : Schott Frères, 1936.
NOTES: There are no markings.
Persinger box 16, folder 27
AUTHOR: Oistrakh, David.
TITLE: Cadenza to the Khachaturian Violin Concerto.
IMPRINT: New York : Leeds, 1958.
NOTES: There are no markings.
Persinger box 16, folder 28
AUTHOR: Menuhin, Yehudi.
TITLE: Cadenzas to Mozart Concerto No. 4.
IMPRINT: New York : Carl Fischer, 1939.
NOTES: On the cover, in the upper left corner is written: “PER [/] 32769”
Persinger box 16, folder 29
AUTHOR: Rostal, Max.
TITLE: Cadenzas for the Beethoven Violin Concerto.
IMPRINT: London: Boosey & Hawkes, Ltd., 1938.
NOTES: On the cover, in the upper left corner is written: “PER.” The score has a tear on the bottom. The cadenza is a transcription of the Beethoven’s cadenzas for the piano version (Op. 61) of the Violin Concerto.
Persinger box 17, folder 1
AUTHOR: Beethoven, Ludwig van.
TITLE: Violin Sonatas / bound volume compiled by Louis Persinger.
IMPRINT: Stuttgart: Verlag der J. G. Cotta'schen Buchhandlung, 1887, 1901.
NOTES: This is a hard-cover bound compilation of 10 volumes, in total, representing the piano scores to each and all of the Beethoven violin sonatas. On the outer cover lower right hand corner is embossed the initials "L.P.". (The corresponding separate violin part is not included in this volume.) The binding is sewn together. The first inner page has ink blots that are possibly intentional as they show a mirroring design with a crease fold. On the first page is stamped: "Louis H. Persinger" Below that is written: "Louis Persinger [/] (Bound, 1962.)"
The edition is edited and revised by Wilhelm Speidel and Edmund Singer.
There is a page before the Op. 30 No. 1 Sonata denoting a "Zweiter Band" with a copyright year of 1901. Therefore, though each sonata has a separate title page with a printed copyright year of 1887, along with page numbers beginning with either page 2 or 3, some of these sonatas may have been acquired as volumes that were compiled by the publisher. As well, Op. 47 "Kreutzer" has a copyright year of 1901, with an inscription in pencil in the upper right corner: "with Ernst von Dohnanyi [/] San Francisco. [/] Feb. 1st, 1927." Op. 47 also has a noticeably different and waxier paper compared to the other sonatas.
There a few markings in pencil for each sonata except for Op. 30 No. 1 which is free of markings, and in the Op. 12 No. 2, Op. 30 No. 2, and Op. 47 sonatas, there are some markings in blue ballpoint pen. There is a white card bookmarking the Op. 24 Sonata "Spring.”
END