Skip to Content
ublogo print

University at Buffalo Libraries

Music Library

Yvar Mikhashoff Collection of Compositions

(arranged chronologically)

List prepared by Matthew J. Sheehy

Indexes of titles and authors of texts available in print version: An Annotated Catalogue of the Yvar Emilian Mikhashoff Musical Compositions and Transcriptions in the Music Library, SUNY at Buffalo: ML410.M66AXS54 1998.

The list of transcriptions is available separately as: Yvar Mikhashoff Collection of Compositions: Transcriptions.


195-?
Assyrian march [piano version]
Piano
2 p., 11 x 7, holograph (pencil)
"Opus 2, no.5 is added in green ink, but was identified by the composer as his first composition. Later orchestrated for band.
Box: 1, no. 1


195-?
Assyrian march [orchestrated for band]
Piccolo, Flute, Oboe, Clarinet, Bassoon, Saxophone, Horn, Trumpet, Cornet, Trombone, Baritone, Tuba, Percussion
Score: 18 p., 13.5 x 10.5, holograph (ink, pencil corrections), incomplete
A piano version of this work is identified by the composer as his first composition.
Box: 1, no. 2


195-?
Chamber concerto, for violin and orchestra
Violin, Orchestra
Sketch/reduced score: 18 p., 12.5 x 9.5, holograph (pencil, ink annotations), incomplete
"Dedicated to Stanley Hartmann [by] R. MacKay." There are some orchestration notes. Mikhashoff indicates that this work later became the basis of his Concerto, for viola and orchestra.
Box: 1, no. 3


195-?
Cycle of Hungarian gypsy songs
Violin
4 p., 12.5 x 9.5, holograph (pencil)
Box: 1, no. 4


195-?
Fantasy variations
Piano
2 p., 12.5 x 9, holograph (pencil), incomplete
Box: 1, no. 5


195-?
Northern Rhapsody, for piano and orchestra
Piano, Orchestra
Score: 53 p., 14 x 11, holograph (ink, corrections in red and blue ink and pencil, pencil additions and corrections inserted)
Premiere: March, 1958
This is marked "opus 1." The spiral binding was retained to preserve page order and page inserts.
Box: 1, no. 6


195-?
Prelude, fugue (6 voices)
Violin, Piano
Score: 4 l., 12 x 9, holograph (pencil)
On the verso of the first page of the fugue is an ink sketch for a sarabande, apparently intended to be put between the prelude and fugue (the fugue roman numeral was changed from II to III. The sarabande is given roman number II). On the verso of l ast page is a sketch for a solo violin fugue that has a similar theme.
Box: 1, no. 7


195-?
Prelude, Gavotte
Orchestra
Score: 6 p., 12 x 8.75, holograph (pencil), incomplete
Box: 1, no. 8


195-?
Rhapsody, E minor
Piano, Orchestra
Sketch: 14 p., 12 x 9, holograph (pencil, annotations in red and black ink), incomplete
This does not appear to be connected to a later Rhapsody in E minor. "Dedicated to Mrs. Weir Ronald MacKay." There are many personal notes and erased sketches for other compositions included. The caption is marked opus 1.
Box: 1, no. 9


195-?
Tango caprice
Strings
Score: 3 l., 12 x 16.75, holograph (pencil, red annotations)
"MacKay"
Box: 12, no. 10


195-?
Variations, for piano, harp, and orchestra, with violin obbligato
Piano or Harp, Orchestra
Score: 6 p., 13.5 x 11, holograph (pencil)
Box: 1, no. 11


195-?
Variations, for piano and orchestra
Piano, Orchestra
Reduced Score: 12 p., 12 x 9, holograph (pencil), incomplete
Includes an outline of the variations. Caption marked as opus 3.
Box: 1, no. 12


195-?-6?
Il était seul
Soprano, Piano
Score: 4 p., 12 x 9.25, holograph (ink), incomplete
Signed Ronnie M., and dedicated to Michel Boeckstijns. This score was once marked op. 13, but later crossed out. There is also a handwritten copy of the text and one additional photocopy.
Box: 1, no. 13


195-?-6?
Toccata peripateia
Piano
3 p., 12 x 9, holograph (ink, pencil musical sketch at end), incomplete
Signed R. E. Mackay and dedicated to Conoley Ballard
Box: 1, no. 14


1955
Lassan in A minor, or, Gypsy's Lament
Piano
8 p., 12.25 x 9.25, Holograph (ink, with pencil annotations)
"By Ronald MacKay, dedicated and in memory of John Choros, opus 1 copyright 1955
Box: 1, no. 15


1955
Nocturne of life and death: "Les preludes"
October 10
Piano
3 p., 12 x 9, holograph (pencil)
Orchestrated for band and entitled Nocturne after Lamartine.
Box: 1, no. 16


1955
Nocturne after Lamartine
Flute, Bassoon, Horn, Cymbals, Harp, Strings
Score: l., 12 x 19, holograph (pencil, red and blue annotations), incomplete
This is an orchestration of Nocturne of life and death, signed "MacKay."
Box: 12, no. 17


1955-56
Grapes (early romantic pieces):

The composite title for a collection of compositions, as well as the approximate years written. There was no specific order assigned. The compositions are:

  • Variations on 6 of the twenty-four preludes (6, 12, 15, 18, 19, 22)
    Piano
    4 p., 12 x 9.25, holograph (pencil), unfinished
    Caption marked opus 5.
  • Intermezzo--from the north
    Piano
    2 p., 12 x 9, holograph (ink, pencil annotations)
    "To P. Aedjian Snow-capped mountains and land-locked fjords, and the deep mysterious sea' copyright 1956 by Ronald MacKay." Later arranged for woodwind and strings as part of the Hans Christian Andersen sketches and pieces: Intermezzo, strings and woodwinds. Caption marked opus 6, number 1.
  • Serenade
    Piano
    7 p., 12 x 8.25, holograph (ink)
    "Copyright 1956 by Ronald MacKay," marked opus 8.
  • Have I lost you--Waltz, for cello
    Piano
    3 p., 12 x 9, holograph (pencil)
    Signed "R. MacKay," marked opus 9, number 3. This is a piano part, with no violoncello part or reference made to it.
  • Prelude
    Piano
    1l., 12 x 9, holograph (pencil)
    Signed "R. MacKay," dated 1956 February 19, and marked opus 9, number 4.
  • Valse ariette
    Piano
    2 p., 12 x 9, holograph (pencil)
    From an earlier collection, Mikhashoff writes: "revised and re-edited six essays (in flats), I Valse ariette, to Rose, R. MacKay (1955)"
  • Waltz in B minor (Valse triste)
    Violoncello, Piano
    Score: 2 p., 12 x 9.25, holograph (ink, pencil annotations)
    "Copyright 1955, by Ronald MacKay." Caption marked opus 11, number 1.
  • Waltz in D-flat (Valse Chopinesque)
    Piano
    3 p., 12 x 9.25, holograph (ink)
    "Copyright 1955 by Ronald MacKay." Caption marked opus 11, number 3.
  • Prelude
    Piano
    4 p., 12 x 9.25, holograph (pencil), unfinished?
    "Dedicated to Stanley Hummel R. MacKay" Caption marked opus 14, number 1.
  • Nocturne G sharp
    Violin, Piano
    Score: 4 p., 12.5 x 9.5, holograph (pencil)
    "Ronald MacKay from op. 15 This work is later transposed to A, and the Flute part is arranged for Orchestra.
Box: 1, no. 18

1956
Rhapsody in E minor
Piano, Orchestra

  • Score: 42 p., 13.5 x 11, holograph (pencil, red annotations), incomplete (begins on p. 7)
    Marked opus 14.
  • Solo part: 9 p., 12 x 8.75, holograph (pencil, red annotations), Incomplete
    "Copyright 1956 by Robert MacKay" is written on the bottom of the page. Two pages are glued together.
  • Reduced score: 6 p., 12 x 8.75, holograph (pencil, red and blue annotations), incomplete
  • Sketch: 6 p., 12 x 9, holograph (pencil), incomplete
Box: 1, no. 19

1956-7
Variations, for trumpet and piano
Trumpet, Piano
Score: 5 p., 12.5 x 9.5, holograph (pencil), incomplete
Box: 1, no. 20


1957
Rhapsodie hongroise (a contest of virtuosity)
May 12
Violoncello, Piano
Score: 2 p., 12 x 9, holograph (pencil)
Marked "opus 7, number 1."
Box: 1, no. 21


1957-58
Poem, for flute and orchestra
Flute, Orchestra
Reduced Score + part: 15 p. + 6 p., 12.5 x 9.25, holograph (ink, pencil annotations), score has penciled-in orchestration notes.
Marked "opus A."
Box: 1, no. 22


1957-59
Concerto, for piano and orchestra
Piano, Orchestra

  • Score: 13 p., 13.5 x 10.75, holograph (ink, pencil annotations), unfinished.
    Premiere: University of Houston, April 24, 1966
    "Composed 1957 Aug., Albany, NY--U.S.A. to 1959 Jan, Rochester, NY--U.S.A."
  • Reduced score: 24 p., 13.25 x 8.5, photocopy of holograph (annotations in blue ink and pencil)
    Entitled Concertino, for piano with wind instruments and percussion.
  • Sketch: 33l., 11 x 8.5, holograph (pencil)
    Entitled: Concertino and signed R. E. MacKay.
  • Reduced score: 29 p., 10.5 x 8, holograph (pencil)
    Entitled: Concertino, for piano and orchestra, revised edition (sketch). Dedicated to Judith Applebaum.
Box: 1, no. 23

1958
Dances for Davia
Movements: Overture -- Waltz for a rainy day -- Amy's piece -- Sergei's bourree no. 1 -- Yellow waltz -- Gypsy dance -- Sad doll -- Tag, and tired
Flute, Piano

  • Score + part: i, 23 p. + i, 11 p., 11 x 8.5
    Southern Music Company, Austin, Texas, 1981. Publisher's plate number ST-282
    Premiere: Houston, Texas, May 1967
    Dedicated to Mikhashoff's cousin Davia MacKay. The cover is autographed with Mikhashoff's initials.
  • Score + part: 17 p. + 6l., 12.25 x 9.25, fair copy (ink, pencil, blue and red annotations), part and score by two different copyists, not Mikhashoff
    Marked with Southern Music's plate number in pencil. Apparently the work of two copyists making a clean copy for Southern Music. The annotations appear to be Mikhashoff's.
  • Performance score + part: 8 pages adhered to folders arranged for performance + 7 pages adhered to folders arranged for performance, 12.75 x 8.75, holograph (assembled photocopy, pencil and red performance markings)
    The verso of first page of score and the first page of part marked with Southern Music's plate number in pencil.
  • Draft: 18 p., 12.5 x 9.25, holograph (ink, pencil annotations), also photocopy with additional annotations in red markings.
    The order is slightly different than the published version: Overture -- Waltz for a rainy day -- Amy's piece -- Sergei's bourree no. 1 -- Yellow waltz -- Hungarian dance (from Komlóskó) -- Sad doll -- Finale. The title page is marked opus 2, while the cover is marked opus 1. Last two movements are not complete; they are manuscript leaves with titles at the top. The photocopy has the first movement added to the end and re-titled "Final."
Box: 2, no. 24

1958-65
Hans Christian Andersen sketches and pieces:
The composite title for a collection of compositions, as well as the approximate years written. There was no specific order assigned. They are all based on stories of Hans Christian Andersen. The compositions are:

  • Improvisation on Narcissus (I)
    Oboe, Trumpet, Percussion, Harp, Celeste, Strings
    Score: 10 p., 12 x 9, holograph (ink, pencil annotations)
    "Dedicated to Robert Greenwood, op. 3a (Albany 1958) Houston, Jan. 23, 1965."
  • December Revery
    Flute, Strings
    Score: 4l., 12 x 16.5, holograph (pencil, red and black annotations)
    Signed "MacKay - dedicated to Joseph Gallitelli."
  • Fairy tales, for orchestra
    Movements: Andre's dream -- Waltz-from Andersen's time -- The ugly duckling -- The red shoes
    Orchestra
    Score: 71 p., 14 x 11, holograph (ink, many annotations)
    "To N.A. with admiration R. MacKay." The plastic spiral binding was retained to preserve the page order and placement of inserts. There are two vellum and ink holographs (12.5 x 9.5) of the Violin I part bound with score. This score is marked opus B.
  • Intermezzo, strings and woodwinds
    Flute, Oboe, Clarinet, Strings
    Score: 7l. (paginated 1c - 1-7c - [12], 12 x 17, holograph (pencil, ink annotations and "doodles")
    Caption reads: "Snow-capped mountains, land-locked fjords; and the deep, mysterious sea." There is a piano version as part of the Grapes (early romantic pieces) entitled Intermezzo--from the north .
  • Symphonic sketches based on Hans Christian Andersen: The little mermaid
    Orchestra
    Sketch: 4 p., 13.5 x 10.75, holograph (pencil), incomplete
  • Waltz, B minor
    Orchestra
    Score: 5l., 12 x 16.5, holograph (pencil)

  • Wild swans, for flute and strings
    Flute, Strings.
    Score: 7 p., 13.5 x 10.75, holograph (ink, with pencil annotations)
  • Wild swans, for chamber group
    Oboe, Trumpet, Percussion, Celeste, Harp, Strings
    • Sketch/reduced score: 8 p., 12 x 9, holograph (ink, pencil annotations)
    • Piano part: 2 p., 12.5 x 10.5, holograph (ink, pencil annotations)
    • Trumpet part: 1 p., 12.5 x 9.25, holograph (pencil, ink annotations)

      Dedicated "to J.G. with respect" [Joseph Gallitelli]. The piano part is not called for in the sketch, but is marked "piano solo." This may have been a trumpet and piano reduction, but there is no other supporting evidence.

  • [Orchestra sketches]
    Orchestra
    Sketch: 2 p., 12 x 9, holograph (pencil)
    This was found among the other works in this collection, but was not assigned a title.
Box: 12, no. 25

1959-60
Hummel pieces:

The composite title for a collection of piano compositions, as well as the approximate years written. There was no specific order assigned. They are all dedicated to Stanley Hummel. The compositions are:

  • Allegro erotic
    10 p., 12 x 9, holograph (pencil), incomplete
  • Andalucian [sic] night
    4 p., 12 x 9, holograph (pencil), incomplete
    Later "scored for full orchestra with harp and English horn." The orchestration pencilled in throughout the score.
  • Devil's toccata
    12 p., 12 x 9, holograph (pencil)
  • Will o' the wisp
    • 6 p., 12 x 9, holograph (pencil)
      The last page of this part is a compositional sketch.
      "March" fugue, 1959 (using all themes of the year 1959)
    • 3 p., 12 x 9, holograph (pencil), incomplete
      Also includes the rear board of a spiral notebook with an outline for a composition.
Box: 2, no. 26

196?
Death of Baldur
Movements: Dance -- Drama
Small Orchestra
Score: i, 20 p., 13.5 x 10.5, holograph (ink, pencil annotations), incomplete (missing beginning)
This appears to be a ballet. Opus 10 is written on title page
Box: 2, no. 27


196?
Sketch books II-IV
Sketch books: 3 v., 10.75 x 7"
Book II includes sketches for Winter songs, Beggar's songs, Tiento para el espejo de Narciso.
Book III contains music related to Shakespeare. Book IV has many pages missing and only blank pages are left.
Box: 2, no. 28


1964
Sonatina (1964)
August 7
Piano
Draft: 7 p., 13.5 x 10.75, holograph (pencil)
Box: 2, no. 29


1964
Sonnet, for violin and piano
September 16
Violin, Piano
Score: 7 p., 12 x 9.25, holograph (ink, pencil annotations)
Signed "R. E. MacKay" and dedicated to "Red Robert [?]" This score is annotated with orchestration notes. It was found with sketches for Little of the bandit's soul and annotated in such a way it may have been considered for possible future incorporation to, or earlier rejection from Little of the bandit's soul. Sub-title reads: "In which Dimitri Shostakovich is seen dancing with many penguins in front of Rachmaninoff's house."
Box: 2, no. 30


1964
Afternoon pieces / Afternoon sonata "Echo and Narcissus"
October 8
Movements: Song for Narcissus -- Aria and dance for Echo
Oboe, Piano
Score + part: 15l. + 9l., 12 x 9" + 12 x 8.5, holographs (ink, pencil annotations + photocopies), also includes two incomplete photocopies of the score.
Premiere: November 3, 1964
Movements dated September 1, 1964 and October 8, 1964 respectively. Signed R. E. MacKay. Dedicated to Robert Greenwood, formally to Helga Grunow. The cover is marked opus 2, but the title page is marked opus 3.
Box: 2, no. 31


1964
Partita, for solo oboe
November 26
Oboe
9 min. 20 sec.
9 p., 11 x 8.5, holograph (photocopy)
Premiere: Houston, Texas, December 1965
Signed R. E. MacKay, dedicated to David Herbert, and marked Houston, TX.
Box: 2, no. 32


1965
Concerto (no. 1), for piano with winds and percussion
Movements: Largamente -- Allegro Giusto -- Adagio -- Allegro Giusto
Piano, Flutes (3), Oboes (2), English horn, Clarinets (2), Bassoon, Saxophone, Horns (4), Trumpets (4), Trombones (3), Percussion (6), Celeste, Harp, Double bass (2)

  • Score: 100 p., 15.75 x 10.5, holograph (ink, pencil annotations)
    Premiere: Dallas, Texas, April 1967, with the Dallas Symphony, Donald Johannos conducting.
    Signed Ronald MacKay and dated Sept. 1964-Nov. 1965 (last digit read 6, but that was crossed out and 5 written over it in pencil)
  • Performance score: 100 p., 15.5 x 11, holograph (photocopy, colored ink annotations)
    Signed Yvar Mikhashoff. Label on front cover reads "Music: Composition France," and is marked opus 6.

  • Draft: 86 p., 12 x 9, holograph (ink, some photocopies), incomplete
    Signed Ronald MacKay. On this version, the front cover is labeled "Piano Concerto, op. 5, piano and orchestra, Nov. 29, 1965 while the title page is labeled "Concerto for piano, with winds and percussion op. 10."
Box: 12, no. 33

1965
Sonatina (1965)
Piano
6 p., 13.5 x 10.75, holograph (pencil), incomplete
Excerpted from Concerto (no. 1), for piano with winds and percussion.
Box: 2, no. 34


1965
Rain flute, soprano and piano March 22
Movements: I. noon, dawn forgotten -- II. without a sound -- III. o how cold -- IV. why? -- V. old and young -- VI. orchids -- VII. mother, or reliving girl? -- VIII. the girl grieving
15 min.
Soprano, Piano
2 scores: 16 p. + 16 p., 12.5 x 9.75 + 12.5 x 8, holographs (ink, pencil annotations + photocopy, pencil annotations)
Premiere: University of Houston, April 26, 1965
Signed "Ronald E. MacKay, March 18, 20, (22), 1965, Houston, Texas" The caption reads op. 5, title page opus 4. Movement I is dedicated to J. R. Hudler; movement II. David Herbert; III. Stanley Hartmann; IV. Connolly Ballard; V. Joe Fennimore; VI. Eleanor Grant; VII. Dearest Dottie [?]; VIII. No dedication.
Box: 2, no. 35


1965
Rain flute, for chamber group
Voice, Flute, Horn, Violoncello, Piano
Score: 16 p., 13.5 x 10.75, holograph (ink, pencil annotations), incomplete
This is an unfinished orchestration of the above composition.
Box: 2, no. 36


1965
Portrait of Verlaine
April 12
Movements: Prelude -- I. Verlaine (tres retrators con Sombra) -- II. Verlaine (the child of the night) -- Cadenza -- Prelude -- III. Tombeau de Verlaine
Voice, Oboe, Piano
Premiere: University of Houston, May 19, 1966, Jean Preston, (soprano), Raymond Weaver (Oboe), and Yvar Mikhashoff (piano)

  • Score: 41 p., 12 x 8.5, holograph (ink, pencil annotations)
    Authors of text: Verlaine (tres retrators con Sombra) / Federico García Lorca -- Verlaine (the child of the night) / Edward Arungton Robinson -- Tombeau de Verlaine: Stéphane Mallarmé. Dated "April 1965-April 12, 1966."
  • Sketch: 4 p., 12 x 9, holograph (pencil)
    Sketch is dedicated to David Herbert. This dedication does not appear on the score.
Box: 3, no. 37

1966
Piano sonata
Movements: I. -- II.Morning music -- III.Sports et divertissements
Piano

  • 17 p., 10.5 x 7, holograph (pencil), incomplete
    Premiere: March 8, 1967
    Dedicated to Joseph Fennimore "with sincerity." The music is signed both Yvar Mikhashoff and R. MacKay. The first movement is dated Oct. 31, 1966, Antwerp. The third is dated Nov. 1, but not finished
  • Incomplete holograph: 5 p, 12 x 8.75, holograph (ink), first half of first movement
    No complete score was found, but composer's notes claim it was performed.
  • Poetry: 4 p., 13.5 x 10.5
    Entitled: "tu fais dujudo?" This is a sketch of poetry (possibly Mikhashoff's) found with Piano sonata.
Box: 3, no. 38

1966
Four antique Japanese dances
March 19
Movements: Taigi -- Buson -- Sogetsu -- Shiki
Alto voice, Piano

  • Score: 10l., 12.5 x 9.5, holograph (photocopy)
    Premiere: University of Houston, August 11, 1967
    Included is a program note, which states: "with thanks to Wm. Henderson." Dedicated to Stanley Hartmann and signed "Ronald MacKay Houston, Texas." The title was changed from Haikai, op. 7 to Four antique Japanese dances, and marked opus 9.
  • Sketch: 1l., 7 x 11.75 (pencil)
  • Artwork: 1l., 10.5 x 8.25 (ink and watercolor)
    This artwork was found with the score. The artwork is signed "YEM."
Box: 3, no. 39

1966
Three dirges
May 22
Movements: Grave -- Lento -- Larghetto
Trombone, Piano

  • Score: 4l., 11 x 8.5, holograph (photocopy, pencil annotations)
    Orchestration notes throughout the score, marked "Houston."
  • Performance score + part: 7l. + 2l., 13 x 11" + 11 x 8.5, holograph (ink)
    Premiere: May 24, 1966
    "May 22, 1966, Houston"
Box: 3, no. 40

1967
Petals from a burnished autumn
June 13
Baritone, Piano
Score: 10l., 12.5 x 8.5, holograph (photocopy, notes on lower ledger lines cut off when photocopied)
Premiere: August 11, 1967
Dedicated "to Jack."
Box: 3, no. 41


1967
Au jardin de l'infante
July 9
Movements: Apporte les cristaux dorés -- Frêle comme un harmonica -- Lune de cuivre; parfums lourds -- Les grands jasmins épanouis
Soprano, Piano

  • Score: 19 p., 12.5 x 9.5, holograph ink, pencil annotations), incomplete
    Premiere: University of Houston, August 11, 1967, Eleanor Grant (soprano) and Yvar Mikhashoff (piano)
    Text is by Albert Victor Samain. First movement dated June 15, 1967 Houston; second, July 16, 1967 Houston; third has no date and is incomplete; fourth, July 9, 1967, Austin, Texas.
  • Texts and translations: 3l. Poems in French (typescript) + 8 p. translations with corrections (typescript with pencil corrections) + 2 p. sketches of text (pencil)
Box: 3, no. 42

1967
Perfumed wasp
July 29
Movements: The perfumed wasp -- The solitude of violet leaves -- Pale fern
Mezzo-soprano, Piano
Premiere: University of Houston, August 11, 1967, Suzanne Summerville (soprano) and Yvar Mikhashoff (piano)
Score: 9 p., 12.5 x 9.5, holograph (ink, pencil annotations)
"Dedicated to Suzanne Summerville Houston." Marked opus 13.
Box: 3, no. 43


1967
Platero y yo
August 4
Movements: Platero -- Nostalgia -- The canary dies - Flame-- The Lullaby -- The canary escapes
Piano

  • 12 p., 12 x 8.75, holograph (photocopy, ink and pencil annotations)
    Originally signed Ronald MacKay, but later crossed out and resigned Yvar Mikhashoff. Dedicated to Carol Buffkins. The dates range from Dec 1, 1965 - Aug. 15, 1967. The story of Platero is written throughout the score both on the original and as annotations on the photocopy. There is also an outline for Dances for Davia, II. This work was found with sketches for Little of the bandit's soul and is annotated in such a way that it may have been considered for possible future incorporation, or earlier rejection to that composition. The subtitle reads: "In which Manuel de Falla sings to the silver donkey who carries the angels" and "In which Aaron Copland takes a good look at Carl Sandburg's white bird."
  • Sketch: 1l., 10.75 x 7, holograph (red and blue ink)
    Includes a musical fragment for Platero y yo and a textual fragment from Beggar's songs. This sketch was found among the Little of the bandit's soul sketches.
Box: 3, no. 44

1968
Seis caprichos [sic]
April 6
Movements: I. Adivinanza de la guitarra -- II. Candíl -- III. Crótalo -- IV. Chumbera -- V. Pita -- VI. Cruz
Soprano, Piano
Score: 15 p., 12.2 x 9.25, holograph (ink), includes one additional photocopy arranged for performance.
Premiere: April 24, 1968
Marked "April 6, 1968, Houston (February 9, 1970)." Title page is marked opus 19, but an attached sheet is marked opus 18.
Box: 3, no. 45


1968
Concerto, for viola and orchestra
May 9
Viola, Orchestra

  • Thesis: iii, 73l., 12"x 9.5, holograph (black-line copy)
    Premiere: July 28, 1968; 1975, Houston Symphony Orchestra with Wayne Crouse principal viola.
    Dated "November 7, 1967-May 9, 1968, Houston" and" dedicated to Wayne Crouse. This work is based on an earlier work Chamber concerto, for violin and orchestra. This copy was submitted for Mikhashoff's M.M. degree from the University of Houston, June 1968. The front page includes faculty signatures. The plastic spiral binding has been retained. The cover is marked May 12, 1968, op. 16, but the title page has op. 20 written in blue ink.
  • Score: i, 73l., 11"x 8.75, holograph (ink on vellum)
  • Parts: 1 complete set, 12 x 9, one holograph (ink, pencil annotations) of each part, photocopies where multiple copies are required. The parts are marked for performance.
  • Sketches: 3 items, various sizes, holographs (ink, pencil)
    Contents: Mikhashoff's rehearsal notes; sketch entitled "Viola sonatalater viola concerto"; sketches for planned second movement
Box: 3, no. 46

196?
Concerto, for viola - sketches for a second movement (Zortzico)
Sketches: 20 p., 12.5 x 9.5, holographs (ink, pencil)
"Zortzico" is written throughout the score. This was found with sketches and notes for Concerto, for viola and orchestra. Lists of Mikhashoff'scompositions and form analyses of Walton and Bartók are found throughout.
Box: 4, no. 47


1968
Winter song
November 17
Movements: Forgotten moon -- Shivering night -- Heron -- Pale through spring
Voice, Piano
Score: 5 p., 12 x 9.25, holograph (ink, pencil musical sketch), incomplete
Text is by Anton Greene. Marked as opus 9 B. The text is typed on the first page. Songs 1 and 2 are dated Nov. 16, 1968. Song 3 is dated Nov. 17, 1968. Song 4 is a pencil sketch and incomplete.
Box: 4, no. 48


1969
Ed è subito sera, for voice and piano
Movements: I. Frutta erbaggi (fruits and greens) / Umberto Saba -- II.Novembre (November) /Aldo Palazzeschi -- III.Ed è subit sera (and suddenly it's evening) / Salvatore Quasimodo -- IV.La venta Paizzetta / Sandro Penna
Voice, Piano
Score: 7 p., 12.25. x 9.5, holograph (ink, pencil annotations), incomplete with one additional complete photocopy.
Marked opus 19, number 1. The first movement is dated Nov. 7, 1967, Houston. The second is dedicated to John Jerome de Leon, but no music is written, only the title and dedication. The third is dated April 1969, Paris and dedicated to Franço is [?]. The holograph is missing last page, but it is found in the photocopy. The score is annotated for a 1971 orchestration.
Box: 4, no. 49


1969
[Sketches for German text settings]
Contents: Four tanka: Sommer -- Hügel -- Kastanie - Kerze -- Nachtlied -- [Untitled]
Voice, Piano
Sketches: 2l., 12.5 x 9.25, holographs (pencil)
Text is by Georg Trakl. These sketches are dedicated to Marc Hone and marked op. 24. Mikhashoff notes: " Four tanka complete, just needs to be copied." Nachlied later appears as first movement in Sebastian im Traum.
Box: 4, no. 50


19??
Fall of the house of Usher
Voice, folk string player, Piano interior ("harpiano"), Magnetic tape, mime
Includes: Form outlines, performance notes and instructions, libretto with annotations, a photocopy of Edgar Allen Poe's The fall of the house of Usher'(heavily annotated), pages from a different edition removed from the binding and heavily annotated, one dried pressed leaf, and a photocopy of unidentified piano music.
1 cassette copy of performance
Box: 4, no. 51


19??
Music for Gertrude (incidental music for In the summer house')
Oboe, English horn, Clarinet, Trumpet, Marimba, Harp
Score: 57 p., 11.75 x 8.5, holograph (photocopy, pencil annotations), includes a photocopy of text.
Play written by Jane Auer Bowles.
Box: 4, no. 52


1969
Canciones de Lorca, soprano and piano
February 3
Movements: El canto quiére sur Luz -- El Grito -- El marino en la orilla -- Me han traido una carcola
Soprano, Piano

  • Score: i, 14 p., 12 x 9.5, holograph (ink, pencil annotations), additional photocopies of the original three canciones (two copies of "Me han traido carcola") with various sketches and annotations.
    Premiere: University of Houston Student Recital of Contemporary music, August 27, 1967, Isabelle Lipschutz (soprano), first performed under the title Tres canciones de Lorca.
    Texts are by Federico García Lorca. Originally entitled Tres Canciones de Lorca, op. 12. Dedicated to Isabelle Lipschutz and dated July 29, 1967, Houston. El marino en la orilla, op.22, dated February 3, 1969, Paris and dedicated to Gilbert Spottiswood, was later inserted as new third movement.
  • Score: 4l., 14 x 8.5, holograph (photocopies), two additional photocopies
    A version of the above score containing only: "The red wheelbarrow" - "Spring" - "Prelude to winter" - "This is just to say." This re-ordered and shortened version is labeled opus 26. Originally these scores were stapled into folders for performance.
Box: 4, no. 53

1969
Canto and Fugue, violin solo
April 1
Violin
5 p., 12 x 9, holograph (pencil and ink), two additional photocopies of the "Fugue"
The "Fugue" is dated September 4, 1965 and April 1, l969. On the verso of the first page of the "Canto" is a sketch, of the "Fugue." On the verso of the second page of the "Canto" is a sketch for a toccata. Canto and fugue is a violin version of Prelude, variations and fugue for violoncello but "there is no prelude in the violin version."
Box: 4, no. 54


1969
Beggar's songs
May
Movements: 1. Offering (Carl Sandburg) -- 2. Rebuff (Carl Sandburg) -- 3. The white birds (W. Butler Yeats) -- 4. Prelude -- 5. Alms (Anna Morrow Lindbergh) -- 6. Beggars (John Ackerman-Jones) -- 7. A time of waiting (Robert Graves) -- 8. Epilogue (Carl Sandburg)
Voice, Piano

  • Score: 14l., 11 x 8.5, holograph (photocopy), one additional photocopy of section 3, 4, 5 and 8.
    Premiere: University of Texas, Round Top, Texas, May 26, 1973, Dianne Tobola (soprano) and Yvar Mikhashoff (piano)
    Commissioned by the Winedale Festival Foundation. The movements were re-ordered by Mikhashoff for the North American New Music Festival "as of May 1991."
  • Sketches: 17 p., 12.5 x 9.25, holograph (mostly ink, pencil annotations)
    Order is as found in the folder: "Offerings," Text is by Carl Sandburg, dedicated "to Sammy," dated May 14 [1969] - "Prelude," marked opus 21 but crossed out, dedicated to Joseph Fennimore on the occasion of his winning the Maria Canalis Competition, entitled at that time "Congratulations," dated May 21, 1969 - "Rebuff," text by Carl Sandburg, dedicated "by Charles," May 18, 1969, Paris - "The white birds," text by W. Butler Yeats, dedication "with Jane," dated May 26, 1969, Paris - "Alms," text by Anna Morrow Lindbergh, marked op. 19, dedicated "for Patrick," dated march 26, 1969, Paris - "Beggars," text by John Ackerman-Jones, dedicated "of Antoine" - "A time of waiting," text by Robert Graves, marked opus 19, dedicated "on Marc [Hone?]" dated May 17, 1969, Paris - "Epilogue," text by Carl Sandburg, dated May 28, 1969 - "Thank you," by Joseph Fennimore, dedicated "to Ronnie [Mikhashoff]," dated June 17, 1969 (Mikhashoff notes that "this could be played as an interlude in Beggar's Songs,'in response to Congratulations'[Prelude']") - "The white grove," text by Kenneth Patchen, dedicated "to Jack," (this song is incomplete) - Unknown text of John Ackerman-Jones, (incomplete, with syllabic analysis)
Box: 4, no. 55

1969
Rosenkrantzlieder (1969)
June 5
Movements: An die Schwester -- Nähe des Todes -- Amen
Soprano, Piano
Score: 6 p., 11.5 x 8.5, holograph (ink, pencil annotations), also includes photocopy with additional corrections (missing 2nd page), and complete photocopy
Text is by Georg Trakl. Dated June 2, 3, 5, 1969, Paris, and dedicated to Marc Hone. Originally opus 22, but that is crossed out and replaced by opus 19. In 1973, this composition was transcribed for soprano and string quartet.
Box: 4, no. 56


1969
Huhn
June 18
Soprano, Piano
Score: 1l., 11.75 x 8.75, holograph (ink, pencil annotations), one additional photocopy
Text is by Christian Morgenstern. Dated "June 28, 1969, Paris; July 18, 1969, Troy, N.Y." Originally marked opus 26, but later crossed out.
Box: 4, no. 57


1969
Elis Sonata Nr.1
July 16
Movements: I. [Elis, wenn die Amsel im schwarzen Wald ruft] -- II. (Vollkommen ist die Stille) -- III. (Leise sinkt an kahlen Mauern)
Soprano/Baritone or Bassoon, Piano
Score + part: 10 p. + 4 p., 12 x 8.5 + 12 x 9, holograph (ink, with pencil annotations), one additional photocopy of score.
Text is by Georg Trakl. Originally marked opus 23 but later crossed out and renumbered opus 20. Dedicated to Marc Hone. Each movement is individually dated, first movement is dated June 19, 1969, Biarritz; July 14, 1969, San Francisco -- II. July 16, 1969, Salt Lake City, Utah -- III. July 14, 1969, San Francisco.
Box: 4, no. 58


1969
Sebastian im Traum (1969)
December 9
Movements: I. Nachtlied -- II. Untergang -- III.Im Park
Soprano, Piano
Score: 7 p., 11.75 x 8.5, holograph (ink, pencil annotations), one additional photocopy of the entire score and a second additional photocopy of "Nachtlied"
Text is by Georg Trakl. Originally numbered opus 26 but later crossed out and renumbered opus 23. First movement is marked June 20, 1969, Biarritz - September 10, 1969, Berlin, and dedicated to Marian Weinstein; second June 21- August 25, l969, San Sebastian-Albany, revised Austin, April 25, 1973, to Larry Kleinhaus; and third, December 9, 1969, Probbach, to Norbert Enders. The original order was "Untergang," "Nachlied," "Im Park." In 1973, this composition was orchestrated for soprano, string quartet and harp.
Box: 4, no. 59


1965 - 69
[Works of Yvar Mikhashoff. Collection, partial]
Contents:

  • Au jardin de l'infante see also no. 42
  • Pedals from a burnished autumn see also no. 41
  • Dances for Davia see also no. 24
  • Canciones de Lorca see also no. 53
  • Rosenkrantzlieder see also no. 56

Scores: 4 copies, 12.5 x 10, holographs (photocopies)
Mikhashoff assigned the collective title: "Yvar Mikhashoff Music: Composition France." Also includes 4 concert programs from the University of Houston Department of Music and a list of works with premieres from 1958-1968.
Box: 5, no. 60

197?
Come away, death
Voice, Flute, Harpsichord
Score: 2 p., 11 x 8.5, holograph (photocopy), one additional photocopy
Found inserted in the score of Little of the bandit's soul.
Box: 5, no. 61


197?
Tres retratos con Sombra
Movements: I. Verlaine -- II. Jimenez -- III. Debussy
Soprano, chamber ensemble

  • Score: 6l., 17 x 11, holograph (ink on vellum), first movement only with four additional black-line copies
    Texts are by Federico García Lorca. The title page indicates this is opus 24. This composition is not complete because it is compiled from earlier compositions. The first movement is the same as the first movement of Portrait of Verlaine -- II. the same as the first movement of Tres Cantilenos -- III. the same as the third movement of Tres Cantilenos. Originally, there were six Cantatas planned: I. Verlaine -- II. Baco -- III. Jimenez -- IV. Venús -- V. Debussy -- VI. Narciso; II., IV., and VI were never written.
  • Sketches: various items
    Includes: four photocopies of the text, a proposed title page, and a memo from Mikhashoff.
Box: 12, no. 62

1970
Canciones de Lorca, soprano and piano; revised
February 2
Movements: El canto quiére sur Luz -- El marino en la orilla -- El Grito -- Caracola
Soprano, Piano
Score: 11 p., 12 x 9.25, holograph (ink, pencil annotations)
Texts are by Federico García Lorca. This is a transposed and re-ordered version of the 1969 Canciones de Lorca. There is also a different final song. The dedication reads: "Much love, once more to Isabelle [Lipschutz]!"
Box: 5, no. 63


1970
Traceries, flute and voice
March 10
Movements: Calypso -- The red wheelbarrow -- Spring -- Breakfast -- Willow poem -- Mezzo forte -- Detail -- Epitaph -- This is just to say -- Prelude to winter -- Calypso
Flute, Voice

  • Score: 10l., 11.5 x 8.5, holograph (photocopy, pencil and ink annotations, arranged and marked for performance)
    Premiere: May 20, 1970, Shepherd School of Music, Hamman Hall, Rice University, Jan Cole (flute) and Isabelle Lipschutz (soprano)
    Texts are by William Carlos Williams. The second leaf has " The red wheelbarrow" transposed down a semitone pasted over the original. "Prelude to winter" is dedicated to Harold Manske and dated September 22 1969 to March 10 1970. The entire composition was "composed for Jan Cole and Isabelle Lipschutz." Labeled "opus 25."
  • Sketch: 11 p., 11.5 x 8.5, holograph (ink and pencil)
    This sketch serves as the original holograph producing the performance score above. The order and content of the sketch is: Calypso -- The red wheelbarrow -- Spring -- Breakfast -- Willow poem -- Mezzo forte -- Detail -- Epitaph -- Prelude to winter -- This is just to say -- Between walls. The verso of "Detail" has a sketch for "Willow song." "Between walls" is an incomplete sketch in which Mikhashoff writes "No. 12 not last though"
Box: 5, no. 64

1970
Sir Gawain and the Green Knight: a mediaeval melodrama in four laisses
May 14
Movements: I. Of Arthur's court and the Green Knight: 1. Prologue and ductia -- 2. Galliard: The banquet of Arthur -- 3. Of the Green Knight -- 4. Chase: The game of Gawain -- 5. Cantilena I: The fate of Gawain -- II. Of the journey of Sir Gawain: 6. Preambulum: Of winter -- 7. Ballata I: The season of summer -- 8. Rondellus: The prayer of Gawain -- 9. Two courtly dances: Basse and tourdion -- 10. Ballata II: The route of Gawain -- 11. Gymel: The sleep of Sir Gawain -- III. Of the castle and sojourn of Sir Gawain: 12. Caccia the hunt -- 13. Paraphonia: The temptation of Sir Gawain -- 14. Reprise: The hunt -- 15. Courtly dance: Estampie royale -- 16. Reprise: The banquet -- 17. Reprise: The sleep of Gawain -- IV. Of the encounter and the return of Sir Gawain: 18. Reprise: Of winter -- 19. Reprise: The fate of Sir Gawain -- 20. Of the anger of Sir Gawain -- 21. Cantilena II: The shame of Sir Gawain -- 22. Epilogue and devise
Narrator, Soprano, Flute, Trumpet, Percussion, Harpsichord, Violin, Violoncello

  • Score: 27 l., 17 x 11, holograph (ink on vellum)
    Premiere: Shepherd School of Music, Hamman Hall, Rice University, May 20, 1970, for members of the Houston Musica Antiqua
    Scenario and narrative text adapted by Robert Cox. Marked Houston, TX.
  • Score: 41 l., 17 x 11, holograph (black-line print, performance markings)
    Text is inserted and attached throughout the score for performance
  • Parts: 6 parts, 17 x 11, holograph (black-line print, performance markings)
  • Ephemera: 2 items, various sizes
    Includes: one printed program from the first performance, textual notes (both personnel and related to composition)
Box: 13, no. 65

1971
Ed è subito sera, for chamber group
Movements: I. Frutta erbaggi (fruits and greens) / Umberto Saba -- II.Novembre (November) /Aldo Palazzeschi -- III.Ed è subit sera (and suddenly it's evening) / Salvatore Quasimodo -- IV.La venta Paizzetta / Sandro Penna
Flute, Clarinet, English horn, Horn, Trumpet, Percussion, Voice, Violoncello, Double bass

  • Score: 7l., 17 x 11, holograph (ink on velum), incomplete (first movement and an incomplete fourth movement only), one additional black line print of first movement
    Premiere: Hamman Hall, Rice University, Houston, Texas, April 24, 1971, by the Cambiata Soloists
    The first movement is dated April 7, 1971, Houston. This composition was written for The International Poetry Institute. The fourth movement is incomplete. There is no second or third movement (see parts below). The black line print of the first movement and the fourth movement are marked for performance. This is an orchestration of the 1969 composition of the same name.
  • Parts: 12 x 9.25, holograph (ink, pencil performance markings)
    Mikhashoff indicates that a "score [is] to be made"
  • Sketches: 5 items, various sizes
    Includes: musical and textual sketches and program notes. Carlo Golino translated the Italian text.
Box: 13, no. 66

1971
In memoriam Igor Stravinsky
April 12
Voice, Flute, Clarinet, Violoncello

  • Score: 4l., 11 x 8.5, holograph (photocopy, ink annotations)
    Premiere: Hamman Hall, Rice University, Houston TX, April 24, 1971, by Yvar Mikhashoff (piano)
    "Text from: Meditations of Marcus Aurelius 4/12/71, Austin, Texas"
  • Sketch: 3l., 12 x 9.25, holograph (pencil)
Box: 5, no. 67

1972
Twelfth night, incidental music, for 3 players
Piccolo, Flute, Horn, Trumpet, Percussion, Glockenspiel, Harpsichord, Guitar, Violoncello

  • Score: 11 x 8.75, holograph
    Premiere: 1972, by the Houston Shakespeare Society, performed by Mikhashoff, Amy Winn, Kevin Pickard
    Text is by William Shakespeare. Dedicated to "Kevin [Pickard] and Amy [Winn]." Various text, art, and songs inserted throughout the incidental music. The adhesive qualities of the text fragments have been lost so the order is in some disarray. There are instructions for photocopying throughout score.
  • 3 scores: 11 x 8.75, photocopies (marked for performance)
Box: 6, no. 68

1972
Four figures of a drowned maiden: Ophelia
January 14
Movements: Prologue: Requiem (Rilke, Block) -- I. There is a willow (Shakespeare) -- II. In a wild grove by a ravine (Block) -- III. Sicilienne: Ophélie (Rimbaud) Recitative (Rilke) -- IV. Concerning a drowned girl (Brecht) -- Epilogue: The singer sings before the child of princes (Rilke)
Soprano, Speaker, Flute, Clarinet, Horn, Harpsichord, Violin, Viola, Violoncello

  • Score: i, 23l., 14 x 11, holograph (ink on vellum)
    Premiere: January 28, 1972, Hamman Hall, Rice University, Austin, Texas, The Cambiata soloists, Mikhashoff conducting
    Texts from: William Shakespeare (Hamlet), Alexander Block (Ophelia), Arthur Rimbaud (Ophélie), Bertold Brecht (The drowned maiden), and Rainer Maria Rilke (Requiem). Dedicated to Paul Schmidt, "Thursday January 13, 1972, Austin - Ft. Lauderdale - Nassau - Albany - Austin."
  • 9 scores: 23l., 14 x 11, holographs (black-line prints of full score marked as parts for performance. In spiral binders)
  • Sketch: 8 p. + 9 p., 12 x 9" + 13.5 x 8.5, holographs (ink and pencil + ink with pencil annotations)
  • Sketch: 16 p., 12 x 9.25, holograph (ink, photocopied text inserted throughout)
    Includes many notes and musical sketches. This was found as the second part of a spiral bound notebook along with Fennimore variations.
Box: 7, no. 69

1972?
Fennimore variations
Piano
16 p., 12 x 9.25, holograph (ink with photocopied fragments taped throughout)
This was found as the first part of a spiral bound notebook full of notes for Four figures of a drowned maiden: Ophelia.
Box: 7, no. 70


1972
Tiento para el espejo de Narciso
June 1
Voice, Flute, Viola, Saxophone

  • Score: i, 15 p., 12 x 8.75, holograph (ink), includes photocopy
    Premiere: University of Texas at Houston, June 9, 1973 and San Antonio, Texas, Trinity University, June 10, 1973, The Cambiata Soloists and Isabelle Lipshutz (soprano)
    Text is by Frederico García Lora. Dedicated to Jim Stanford and dated June 1, 1972, Houston Texas. This later became the second movement of Mikhashoff's doctoral dissertation (Tres Cantilenos in Blanc). This composition was nominated for the 1973 Pulitzer Prize.
  • Score: 14 p., 14 x 10, holograph (photocopy, ink alterations), first page missing
    This is a photocopy of score with the Saxophone part transposed for e-flat instrument.
Box: 7, no. 71

1972 or 3
Wasteland, incidental music
Voice, Oboe, Clarinet, Saxophone, Percussion, Autoharp

  • Score: 5 p., 12 x 8.75, holograph (ink, pencil, and colored marker)
    "Incidental music for a reading of T. S. Eliot's The Wasteland"
  • 4 parts: 5l., 12 x 8.5, holographs (photocopies of score)
  • Script: 21l., 11 x 8.5, typescript (ditto, includes music cues) "Script for staged reading of Wasteland'[by T. S. Elliot], Performed in Austin, Texas on the water (on rocks in a stream) musicians among the trees. 1972-73? Devised by Christina Pickard"
Box: 7, no. 72

1973
Sonata exposition
Sketch: 4 p., 13.5 x 10.75, holograph (pencil and ink sketches and notes)
"Sonata exposition on given material as part of doctoral exam, 1973, Austin."
Box: 7, no. 73


1973
Tres Cantilenos in Blanc (White Cantilenas)
Movements: I. Zarabanda para la fantasia de Jimenez -- II. Tiento para el espejo de Narcisco -- III. Dialogos y sombras de Melisande (Dialogues in shadows of Melisande)
Soprano, Narrator, Flute, Oboe, Bassoon, Horn, Saxophone, Percussion, {Violins (2), Viola (1)} or {Violas (3)}, Violoncello
25 min

  • Score: 32l., 17 x 11, holograph (ink on vellum), Section I. and III. in Mikhashoff'shand; II. in a copyist's hand.
    Text is by Frederico García Lorca. Each section is dedicated separately: I. Dedicated to Diane Tobola Dec. 1, 1971, Austin TX. -- II. Dedicated to Isabelle Lipschutz June 1, 1972, Houston TX., recopied by John Balentine, June 16, 1973 -- III. Dedicated to Paul Schmidt Austin TX., June 13, 1973. Title page note reads: "Dissertation, presented to the faculty of the graduate school of the University of Texas at Austin in Partial fulfillment of the requirements for the degree of Doctor of Musical Arts." It also includes a vita. Third movement was made into a stand-alone composition entitled Dialogues in shadows of Melisande.
  • Copies of various movements: 13 total, 17 x 11, holograph (black-line prints); 4 copies of section I.; 1 copy of section II.; 8 copies of section III.
  • Sketch: 4 items, various sizes, text and musical sketches
Box: 14, no. 74

1973
Shadows and dialogues of Melisande
Soprano, Speaker, Oboe, Horn, Percussion, Violoncello
8 min.
Parts: 3 sets, 16.25 x 11, holograph (1 black line copy, 2 photocopies with performance markings)
Premiere: Cooper Union, 1982, by The Bowery Ensemble
Text is by Frederico García Lorca. Dedicated to Paul Schmidt. This work is derived from the third movement of Mikhashoff's doctoral dissertation (Tres Cantilenos in Blanc)
Box: 14, no. 75


1973
Rosenkrantzlieder (1973)
March 13
Movements: An die Schwester -- Nähe des Todes -- Amen
Soprano, Violins (2), Viola, Violoncello
Score + parts: 8 p. + 4 parts, 12 x 9" + 12.5 x 9.5, holographs (ink, pencil annotations), score incomplete
Premiere: University of Texas at Austin, May 4, 1973, Trudy Kier Skiff (soprano)
Text is by Georg Trakl. Dated "March 13, 1973; mid-flight Detroit/Dallas." The score is missing of "Nähe des Todes" and the "Amen" is incomplete. A program is taped to the cover. This appears to be a transcription of the 1969 composition by the same name.
Box: 7, no. 76


1973
Sebastian im Traum (1973)
April 25
Movements: I. Nachtlied der gefallener Engel -- II. Untergang -- III. Im Park
Soprano, Violins (2), Viola, Violoncello, Harp
Premiere: University of Texas at Austin, May 4, 1973, Trudy Kier Skiff (soprano)
Parts: 5 parts, 12.5 x 9.5, holograph, holograph (ink, with many changes and additions; harp part is a photocopy)
Text is by Georg Trakl. Mikhashoff notes that "no score was ever made." Also includes a sketch for the harp part. This is an orchestration of a 1969 composition by the same name.
Box: 7, no. 77


1973
Pipes of Colchis
June 11
Movements: The kaval (Bulgaria) -- The zurna (Turkey) -- The nay (Rumania) -- The monaulos (Greece)
Clarinet, Piano

  • 3 score: 21l., 22l., 23l., 12 x 8.5, holographs (one is ink and pencil, the others are photocopies)
    Premiere: Austin, Texas, June 15, 1973.
    Marked "Houston-Austin." There are sketches of Twelfth night, incidental music found throughout on the verso of the ink holograph. The two photocopies were used as performance scores and contain performance markings. "The zurna" is dedicated "to Neal [Hatch?], June 1, 1973 Austin, TX."
  • Sketches: various photocopied articles on Greek, Bulgarian, Turkish, and Rumanian music; clarinet fingering charts; musical sketches
Box: 8, no. 78

1974
Windwife
March 12
Movements: Winds -- Déha by the sea (Serbo-Croatia) -- Si la nieve resbaia (Spain) -- Blow, blow, thou winter wind (Britain, William Shakespeare) -- The air was once about to die (German cabaret, Christian Morgenstern, translated by Neal Hatch) -- Es pfeift der Wind -- Mary on the Moor -- The wind on the danube (Hungary) -- La plume sénvole au vent (France) -- A ship was sailing (Russian)
Voice, Flute, Viola, Vibraphone, Glockenspiel, Piano, Percussion

  • Score: 50 p., 12.25 x 9.25, holograph [ink, pencil and ink performance markings]
    Premiere: Albany Institute of History and Art, April 13, 1974, the Cambiata Soloists.
    Corrections and additions inserted throughout; "March 12, 1974, 2 a.m., Chez [Isabelle] Lipschutz, Houston [inserted pages 21a and 21b] To Charles E[lrod] may you never again trudge through the dark night March 12, 1974, 2 p.m., Houston"
  • Sketches: 23 items, various sizes
  • Texts and translations
  • Letter: 3l., 11 x 8.5, photocopies
  • Letter and attachment dated May 10, 1994 from Amy Winn to Jan Williams explaining changes in the flute part made by Mikhashoff, but not necessarily reflected in the score. This letter was written after Yvar's Memorial Concert for Jan Williams'records.
Box: 8, no. 79

1975
Long eyes of the Earth
January 25
Piano
10 min.

  • i, 13 p., 12 x 9, holograph (ink, pencil annotations)
    Premiere: Kennedy Center, Washington, D.C., March 8, 1975, and Baird Recital Hall, SUNY at Buffalo, April 29, 1975, James Mathis (piano)
    Dated "December 1974-January 25 [1975], Buffalo-Marida-Belize-Columbus." Written for James Mathis and dedicated to Neal [Hatch] and "Jimmy" [Mathis]. A quote from Douglas Davis'article from the March 18, 1974 issue of Newsweek was the inspiration for the work: "Like art, music, and literature, the new telescopes represent attempts to see far beyond the common knowledge and common images."
  • ii, 13l., 11 x 8.5, holograph (photocopy)
    Premiere: Buffalo, NY, 1981, Anthony De Mare (piano)
    This is a photocopy of the original holograph with all dates and previous names removed and rededicated to Anthony De Mare. It still sites Douglas Davis'article in Newsweek as the inspiration for the work. The only real change is the duration, which is changed from 10 min. to 8 min.
  • Proof: 14l., 12 x 9, engraved (proof), one additional photocopy
    Quadrivium Music Press, c1983
    The title is changed to Transcendental etude no. 1. Date of composition is also changed to 1981. Anthony De Mare edited these proofs.
  • Sketches: 15 items, various sizes
    Includes: a typescript and photocopy of the program notes from the first performance (3/8/75), Douglas Davis' Newsweek article that inspired Mikhashoff, various notes and musical sketches
Box: 8, no. 80

1976
Concerto, for viola and orchestra [revised]
Viola, Orchestra
3 scores: 76 + 76 + 43, 11.75x 9.75, holograph (photocopies, performance markings), one score is incomplete
This is a 1976 version of the score that was submitted for the Caps Award 1976-77. Plastic spiral bindings retained on complete scores to preserve page order.
Box: 8, no. 81


1976
Masque of the Winter's tale
March 5
Movements: Part I: 1. Prelude: The court of Sicily -- 2. Reverie: Ecco la primavera -- 3. Cantilena: Che vuoi dolce mia vita -- Refrain: Notte inquieta e d'orror piena -- 4. Recitative: Do not weep, good fools -- Arietta: Addio, Paulino, Addio -- 5. The trial of Hermione -- 6. The Imprecation -- Part II: 7. Prelude: Down in Bohemia -- 8. Round of the shepherdesses, Vale tobe mocny svete, when daffodils begin to peer, jog on, jog on -- 9. Dance of the shepherds -- 10. Recitative: Daffodils, that come -- Refrain: Tam na brehu reky Detvy -- 11. Melodeclamation: When you speak -- 12. General dance and song: Lawn as white -- 13. Lament: Shall I go mourn -- Part III: 14. The chamber of Leontes: La Rondinella -- 15. The arrival of the lovers: La Capona -- 16. Corteo: Gram piant'agli occhi -- 17. The miracle: Chedolce sono Orfeo -- 18. Finale: Ecco la primavera
Speaker, Sopranos (3, 1 solo + 2 supporting), Mezzo Soprano, Flute, Clarinet, Viola, Guitar, Piano, Percussion

  • Score: 86 p., 12 x 9, holograph (ink, pencil annotations)
    Premiere: University of St. Thomas, March 14, 1976, by the Cambiata Soloists and University of St. Thomas faculty.
    "Last notes penned March 5, Friday [1976], Houston, Texas"; marked for changes and for performance
  • Parts: incomplete set, various sizes,
    Includes: flute, guitar/percussion, speaker, and piano parts. They are photocopies of the score cut and taped to folders. The clarinet part is a photocopy of the complete score taped to rigid drawing paper.
  • Sketch: 10l., 11 x 8.5, photocopies (marked in pencil)
  • Annotated photocopies of various compositions of music used in the last section of Masque of the winter's tale.
Box: 9, no. 82

1976
Canon to Webern
July 24
Soprano, Mezzo-soprano, Baritone, Flute, Clarinet
Score: 9 p., 13 x 10.5, holograph (ink, pencil)
Marked on last page: "Graz, July 24, 1976, dedicated to Dave [?]."
Box: 10, no. 83


1977
Prelude, variations and fugue
March 31
Violoncello
11 p., 12 x 9, holograph (ink, pencil annotations), incomplete
Dedicated to F.-Marie Uitti. Prelude is the same as violoncello part of Nocturne, for violoncello and piano. The Variations and Fugue are an arrangement of Canto and fugue. Variations dated March 23, 1971, Austin, Texas; Fugue dated March 31, 1977, J. F. K. Airport.
Box: 10, no. 84


1977
In memoriam: Benjamin Britten
May 7
High Voice, Oboe, Violoncello
2 scores: 7l., 12.5 x 9.5, holograph (one ink on vellum, second black-line print, ink corrections)
Premiere: SUNY at Buffalo, May 13, 1977, Carol Plantamura (soprano), Richard Bourque (oboe), and Frances-Marie Uitti (violoncello)
Text is by William Wordsworth. Dedicated to Carol Plantamura, "May 7 [1977] in flight, Buffalo - Louisville."
Box: 10, no. 85


1977
Improvisations on the last words of Chief Seattle
June 21
Speaker, Voice, Mime, Percussion, mine-dancer

  • Score: i, 14l., 10 x 16, holograph, (colored inks on the verso of "June Music" posters)
    Dedicated to William Kirkpatrick, June 21, 1977, Buffalo. Includes a program note.
  • Sketch: 3 p., 11 x 8.5, text sheet with stage directions and other notes
Box: 14, no. 86

1978
Nocturne, for violoncello and piano
February 1
Violoncello, Piano
Score + part: 2l. + 1l., 12.75 x 9. 25, holograph (pencil and ink, pencil annotations, performance markings)
Score dated February 1, 1978, "slightly incomplete"; the part is dated February 2, 1978. "Homage [sic] à F. Chopin. Buffalo - Albany." The solo violoncello part is the prelude in Prelude, variations and fugue. Violoncello solo. On the verso of score is a sketch entitled December 1952.
Box: 10, no. 87


1979
Dances for Davia, second set
July 13
Movements: I. Prelude for a princess -- II. Humming Song -- III. David's Pavane -- IV. Sergei's Bourrée no. 2 -- V. Silver waltz -- VI. Magic wind-dance -- VII.The song of the blue fairy -- VIII. Grand Finale
Flute, Piano
Score: i, 26 p., 12 x 9, holograph (ink), last page not complete, 4 additional photocopies
A program note is found on the cover and there is a short quote at the end of most movements. The entire composition is dedicated to Davia MacKay, but the individual movements are also dedicated. The first movement is dedicated "to Frances-Marie Uitti April 1972/May 20, 1979 -- II. To Amy Williams [H. C. Andersen quoted] April 4, 1969/May 23, 1979 -- III. To David Bonner April 1972/May 22, 1979 -- IV. To James Sellars Sept. 16, 1964/May 23, 1979 -- V. to Gary and Maeye Dec. 1, 1965/Spr. 1974, May 24, 1979 -- VI. To Arthur Ephross [Robinson Jeffers'Birds quoted] Aug. 4, 1967, May 26, 1979, Hartford, CT -- VII. To Robert Black [Collodi's Pinocchio quoted] Aug. 4, 1967, Houston, May 26, 1979, Hartford -- VIII To William Kirkpatrick Spring 1958/Spring 1972, Helsinki/Stockholm, Fri. July 12, 1979."
There is a note from Amy Winn found with photocopies asking: "Where is the coda?" Mikhashoff wrote on the cover of one of the photocopies: "Arthur: This is last movement minus a coda, which is identical to the end of Davia, no. 1, b ook 1 - Good Luck"
Box: 10, no. 88


1979
Little of the bandit's soul: a farce in seven scenes wherein various illustrious composers encounter remarkable devices and have strange revelations
Movements: Scene I, In which Francis Poulenc makes a daring escape from the Keystone Kops -- Scene II, In which Maurice Ravel dances with a Spanish princess -- Scene III, In which Sergi [sic] Prokofiev meets a real live gavotte -- Scene IV, In which Gabriel Fauré plays a sonatina for Melisande while she spins -- Scene V, In which Alberto Ginastera sees the Northern Lights and dances a rude tango -- Scene VI, In which Ottorino Respighi falls asleep beside a fountain, under a pine, and dreams of a nightingale -- Scene VII, In which Sergi [sic] Rachmaninov sees penguins in front of his house and writes a concerto.
Violin, Piano

  • Score + part: i, 29l. + 15 p., 14 x 8.5 + 12 x 9.25, holograph (Score: photocopy with ink overlaid changes and pencil annotations. Part: ink, pencil annotations), score incomplete
    Suite derived from Dances for Davia, Twelfth night incidental music, and other miscellaneous small piano works. It is dedicated "For Ben [?], to Ben." The score consists of photocopies of the original compositions with changes. Dates of the included compositions range from 1964-1979. The part is dated "Nov. 22, 1973, Buffalo."
  • Sketches: 4 items, various sizes, holographs (ink, pencil)
    Includes textual and musical fragments. On the original folder (included) are notes for an earlier order and other suggested movements for Dances for Davia, book II.
Box: 10, no. 89

1983
Light from a distant garden (deploration: in memoriam Poul Rovsing April 30 Olsen)
Violins (2), Viola, Violoncello

  • Score: 9l., 11 x 8.5, holograph (ink), includes additional photocopy
    Dated "April 30, 1983, Aarhus [DK], recopied June 30, 1983, Copenhagen."
  • 4 parts: 11.75 x 8.25, holograph (ink)
    Parts dated April 29, 1983, Aarhus [DK] except for the violoncello part which is dated April 30, 1983 1:45a.m.
  • Sketch: 10l., 11.75 x 8.25, holograph (ink)
    Dated April 26 - 27, 1983, Aarhus [DK]. On the verso of one leaf are pedagogical notes outlining the repertoire one will need to master to become a "soloist class" pianist.
Box: 10, no. 90

1983
Buffalo party pieces
May 9
48 leaves of manuscript paper in many hands for multiple voices.

  • 12l. where each member of the party alternated measures or staffs.
  • 12l. where random nouns, adjectives, and verbs were written on the top of the page and various members of the party wrote sections of the music.
  • 24l. of short one-verse poems typed one per page.
A partial list of people present who contributed to this game: Yvar Mikhashoff, Michael Colquhoun, Michael McCandless, William Ortiz, Bernadette Speach, Anthony Genge, Anthony De Mare, Stuart Shepherd, Joyce Grant, and others
Box: 10, no. 91

1984
Evening dances
March 6
Movements: El grito -- Me han traido una caracola -- Mickey's hour waltz
Violin, Piano
Score: 9l., 14 x 11, holograph (photocopies, pencil)
Premiere: Buffalo Erie County Library Auditorium, North American New Music Festival, April 27, 1987, Mikhashoff (piano) and Tom Halpin (violin).
First two movements are an arrangement of Canciones de Lorca. The last movement is a new work, dedicated "to Michael [?] March 6, 1984." Also includes a copyist's holograph of "El grito's" violin part, marked for performance
Box: 11, no. 92


1985
Night Dances, version 1
March 4
Violin, Viola, Violoncello
Score: 10l., 11.5 x 8.25, holograph (ink, pencil annotations)
Premiere: Buffalo and Erie County Public Library, September 30, 1985, Camenae String Quartet.
Composed for the Camenae String Quartet. Notes for version 2 orchestration throughout the score. There is an unidentified musical sketch on verso of the last leaf.
Box: 11, no. 93


1985
Night Dances, version 2
September 24
Movements: I. Bolero -- II. Milongo -- III. Processional -- IV. Huapango -- Coda
Piccolo, Alto Flute, Trumpets (2), Trombones (3), Percussion, Piano

  • Score: 15 p., 11.75 x 9, holograph (ink, pencil annotations), includes 3 additional photocopies
    Premiere: Cooper Union, October 8, 1985, by The Bowey Ensemble
    Second movement dated September 14, 1985, midnight; third movement dated September 15, 1985, 10:50, Buffalo; fourth movement dated September 24, 1985, in flight London-New York.
  • 8 parts: 11 x 8.5, holograph (ink on velum + photocopies)
    Flute part consists of one master copy on vellum and one photocopy; trumpet consists of one master and one photocopy; trombone consists of one master and two photocopies; the two percussion parts are photocopies of score. The photocopies have performance markings.
Box: 11, no. 94

1986
Twilight dances
Movements: I. Bear Dance [NYAGWAI] -- II. Buffalo Dance [DEGIYAGO] -- III. Processional [DEGIYAGO II] -- IV. Shaking-a-squash [GASHEDONDADON]
Violin, Double bass, Percussion (2 players), Piano

  • Score: 12l., 12 x 8, holograph (ink), additional photocopy
    Premiere: SUNY at Buffalo, North American New Music Festival, April 14, 1986, Thomas Halpin, (violin), Jan Williams, Bradley Amidon (percussion), and Yvar Mikhashoff (piano)
    Movement "I. dedicated to Robert Black, Houston 8:45 p.m. -- II. dedicated to Isabelle [Lipschutz], completed Houston April 6, 1986, 7:30 p.m. -- III. dedicated with love and affection to Jan and Diane and Amy and Elizabeth [Williams] -- IV. dedicated to Jan Houston, 11:15 p.m."
  • Sketches: 5 items, various sizes,
    Musical sketches for movements I, IV, III including a section entitled Dance for the dead which was later incorporated into the fourth movement.
Box: 11, no. 95

1988
Jabberwocky
March 28
Voice, Piano
Draft: 5 p., 12.25 x 9.25, holograph (ink and pencil)
Text is by Lewis Carroll. Dedicated "to beautiful Keith first draft, March 28, 1988." Found on the verso of last page is a sketch for movement III of Elemental figures.
Box: 12, no. 96


1988
Flowers for Joan Mitchell
September 9
Movements: I. Sunflowers -- II. No daisies -- III.Bluet, bluet, bluet -- IV. Two sunflowers
Violin, Percussion, Piano

  • Score: 31 p., 11.75 x 8.25, holograph (ink)
    Premiere: Albright-Knox Art Gallery, Buffalo, NY, September 18, 1988, Thomas Halpin (violin), Yvar Mikhashoff (piano), and Robert Schulz (percussion)
    "Begun July 3, aloft, en-route Bangkok from London stopped 5:24, Bangkok time, aloft July 4 In flight on 20 VII 88 - Tokyo - NY aloft en-route Rio/Iguasu, 7 IX 88 completed Buenos Aires, 12:30 a.m., Sept. 9, 88." On the verso of many pages are sketches and budget notes.
  • Musical sketches: 2 items, various sizes
Box: 12, no. 97

1988
Flight of the moon
September 15
Flute, Soprano, Harp

  • Score: 2 p., 14 x 8.5, holograph (photocopy), two additional copies
    " Aloft, Buenos Aires/Toronto."
  • Musical sketch: 3 p., 11 x 8, holograph (ink and pencil)
Box: 12, no. 98

1990
Charlie's Waltz
March 2
Piano
1 p., 11.75 x 8, holograph (ink)
"For Prapard Subrerng Written for Prapard in Bangkok, 8 Feb., 1990, completed 2 Mar., 1990 aloft - Toronto/London"
Box: 12, no. 99


1990
Hommage to Virgil Thomson
March 30
Violin, Piano
Score: 9 p., 11.75 x 8, holograph (ink), incomplete
Premiere: Buffalo and Erie County Public Library, North American New Music Festival, April 2, 1990, Thomas Halpin (violin) and Yvar Mikhashoff (piano)
"Written aloft" This work is incomplete. It is written in a manuscript book, which also includes the sketches and changes. There is some water damage.
Box: 12, no. 100


1990
Elemental figures
September 8
Movements: I. Diviner -- II. Shaman -- III. Sybil
Piano

  • 128 p., 12.25 x 8.75, holograph (ink, pencil annotations)
    Premiere: Slee Concert Hall, SUNY at Buffalo, November 8, 1990, Yvar Mikhashoff (piano). Paul Schmidt read his poems during this concert.
    First movement written: "[in] Buffalo, Feb., 1987, London, Paris, Bangkok, Buenos Aires, Bangkok, Buffalo Sept 12, 1987, Brunswick ME, Nov. 12, 1989; [second] Dec. 13, 1989; [third,] London, Jan. 28, 1990." The container this composition was found in indicated that it is incomplete as of September 8, 1990, and the "[introduction to the third movement] is forthcoming."
  • Text: 4l., 11 x 8.5, typescript (photocopy)
    This is a set of poems inspired by Elemental figures, written by Paul Schmidt, and dedicated to Mikhashoff. The Diviner'is subtitled: Staring into water; the Shaman': Looking through the air; and Sybil': Listening to the Earth. Mikhashoff indicated on first page that the "poems [were] written after the fact."
  • Musical sketches: various sizes, ink and pencil
    Dated from 1987 to 1990.
Box: 14, no. 101

1991
Ferrara dances
October 28
Movements: I. Libra (passo degli cigni ricenti) -- Fragment A (frammento degli gritone neri) -- II.Libra (passo degli) -- Fragment B (frammento degli grifone azzuni) -- III. Cancer (Passo della morte/passo delle tre parche) -- IV. Leo (passo de Gobbo Bomarzo)
Violoncellos (3)
Score: 15 p., 11.75 x 8.8, holograph (ink, pencil annotations)
Dated October 21-28, 1991, There is a sketch of the beginning of Leo (passo del fuoco) crossed out on page [11] which begins again on page [12].
Box: 12, no. 102


1993
Block Island wedding cake waltz
August 1
Oboes (2), Clarinets (2), Bassoons (2), Horns (2)
Score: ii, 4l., 12 x 9, holograph (ink), includes additional photocopy
"dedicated to Caroline [?] and Jonathan [?] on the occasion of their formal union as man and wife, celebrated as a FETE CHAMPETRE, from Yvar with much love completed aboard the Sea Spirit (28 x 1193) - Nantucket." Additional two-page dedication/testimony dated July 28, 1993.
Box: 12, no. 103


[Miscellaneous Sketches]

  • Beggars songs: 18 p., 10.75 x 7, holograph (ink and pencil)
  • Various Italian songs: 12 items, various sizes, photocopy of text, pages from a book, holograph (pencil)
  • Hungarian Rhapsody no. 8: 2 p, 12 x 9, holograph (pencil)
  • Rose waltzes: 3l., 11.75 x 8.25, holograph (ink)
  • Tango for Garfield: 6 p., 12 x 9, holograph (ink), includes art work
  • Tango/Tom's hour waltz: 12 p., 6.75 x 9.5, holograph (pencil)
  • Various: 30 items, various sizes; music, diagrams and textual sketches (ink, pencil)
Box: 12, no. 104