Section 1. Autographed Manuscripts by Koechlin (1905-45)
no. 1: 'Chanson d'Engaddi', for T or S and pf. 6 pp., n.d.
no. 2: 'Paysage', for S, opt. cl and pf. 3 pp., recop. 28 Sept 1961.
no. 3: 'La rose du rameau sec', for B and pf. 5 pp., n.d.
no. 4: 'La niege', for T or S anf pf. 3 pp., recop. 29 Sept 1916, rev. ending dated 17 May 1931.
no. 5: 'Le ventre mereilleux', for T or S and pf. 12 pp., n.d.
no. 1: 'Dédicace', fm for S or T and pf. 8 pp., n.d.
no. 2: 'Le voyage' for S and pf. 4 pp., n.d.
no. 3: 'Le potier', for S or T and pf. 3 pp., n.d. Plus item 3a: vocal part. 2 pp., n.d.
no. 4: 'Chanson des beaux amants', for T and pf. 7 pp., rev. and recop. 3 Aug 1923
no. 5: 'Chanson de flûte', for S and pf. 2 pp., rev. and recop. 2-3 Aug 1923.
no. 6: 'L'oiseau en cage', for S or T and pf. 2 pp., recop. 2 Aug 1923.
no. 7: 'Offrande', for S or T and pf. 4 pp., n.d.
no. 8: 'La chanson d'Ishak de Mossoul', for S and pf. 4 pp., n.d. See Section 2, MS VII.
no. 1: 'L'accueil de la maison' (originally 'Bienvenue aux hôtes'), 3 pp. Theme 10 Sept 1932, realis. 11-12 Dec. 1932, recop. 15 Dec 1932.
no. 2: 'D'un vieil album'
(i) 'Les fiancés de 1830', 4 pp. First sketch 1 Aug 1923, rev. and realis. 24 Oct 1931, rev. 17 Nov 1931 and 2 June 1933, recop. and 3 June 1933.
(ii) 'Reliques de deuil', 2 pp. 17 Aug 1923, rev. and recop. 15 Dec 1932.
no. 3: 'Les collines, et la vie tranquille' (originally 'Les collines paisibles'), 2 pp. Oakland 10 June 1928 (evening), realis. 15 Dec 1932, rev. 10 Jan 1933.
no. 4: 'La leçon de piano', 2 pp. 15 Dec 1932, based on sketches from 9 Oct 1931, rev. 10 Jan 1933.
no. 5: 'La terrasse Louis XV, au dessus du lac', 2 pp. 15 Dec 1932, based on a sketch of 1926 originally written for no. 2 above.
no. 6: 'La vieille fontaine', 4 pp. 4 Jan 1933, rev. 10 Jan 1933, rev. and recop. 3 June 1933.
no. 6: Second version with revised ending (as in Oiseau- Lyre printed version, 1937) to make a better lead into no. 7, 4 pp. recop. 6 July 1933, ending rev. 25-6 Aug 1933.
no. 6: Rough preliminary sketch, n.d., but perhaps 4 Jan 1933. 1 p. (recto). On verso is a copy of bars 1-9 of Albert Roussel's song Le bachelier de Salamanque (Op. 20 no. 1, 1919). Words by René Chalupt.
no. 7: 'Jeux' (based on a theme by Koechlin's son Yves of 23 July 1926), 5 pp. 4 Jan 1933, rev. 10 Jan 1933, rev. and recop. 2-3 June 1933.
no. 8: 'En ramant, sur le lac' (originally 'En bateau, sur le lac'), 4 pp. 4 Jan 1933, rev. 2 June, recop. 3 June 1933.
no. 8: Second version, 5 pp. Recop. 6 July 1933.
no. 9: 'Matin dans le bois - Courses dans la jungle', 6 pp. Sketched 4 Jan 1933, rev. 2 June, completed 1 July 1933.
no. 9: Second version, 6 pp. [1 July 1933].
no. 10: 'La veille du départ', 5 pp. 3 Jan 1933, rev. 10 Jan 1933.
no. 11: 'Au Parc Monceaux (Octobre 1882)' (originally 'Promenade au Parc Monceaux (Novembre)', final printed title 'Promenade d'automne'), 3 pp. Sketched 15 Dec 1932. Sketched 15 Dec 1932 and 3 Jan 1933, recop. 4 Jan 1933, rev. 1 July 1933, recop. 6 July 1933.
no. 12: 'La jeunesse vue du seuil de la vieillesse' (originally ' Salut a la jeunesse - vue du seuil de la vieillesse'), 1 p. 1 Aug 1923 (material originally intended for no. 1 above), rev. and recop. 13-15 Dec 1932.
p. 1: no. 2 'Sur un thème traité par Bach', 2 Jan 1934 (theme in F minor in soprano). Pubd in Dix chorals et un prélude for org (Paris, Procuré de Clergé, 1961), p. 1.
p. 2: no. 9. Same theme as no. 2 but in the bass, 6 Jan 1934.
p. 3: no. 12. Chorale in E minor with theme in bass, 7 Jan 1934. Pubd in Dix chorals et un prélude, p. 2.
p. 1: no. 1: 'Andante, comme une vieille chanson' (1/2 p., theme 14 April 1936, realis. 9 Sept 1937); no. 8: Andantino sans trainer (1/2 p., theme 14 April 1936, realis. 9 Sept 1937)
p. 2: no. 3: Andante espress[ivo], sans lenteur (1 p., theme 14 April 1936, realis. 11 Sept 1937).
1. Prologue (les fumees) Three 1 1/2 minute sections.
2. First episode (la valse des eaux). 3 1/2 minutes.
3. First interlude. 30 seconds.
4. Second episode. 3 1/2 minutes.
5. Second interlude. 30 seconds.
6. Third episode (Scherzo de la lumière). 3 1/2 minutes.
7. Third interlude. 1 1/2 minutes together.
8. Coda. 1 1/2 minutes together.
The five MSS below are a series of early working drafts for most of Les eaux vives, some of which have instrumental indications added.
Additional Note
Page 1: no. 2: 'Nocturne'. Sketch of ending (1/2 p.), rev. and recop. 22 June 1937 (a revision of MS 63, p. 5). Start of no. 1: 'Requiem aeternam' for unacc. choir (1/2 p.), realis. 24 June 1937. See MS 66.
Page 2: no. 4: [Très calme' for org or orch.] Start, 26-7 June 1937. See MS 65. This runs on into p. 3 (no. 4) of 24 June, rev. 29 June 1937.
Page 4: Early sketches for the start of no. 2: 'Nocturne'. Crossed out, n.d.
Page 1: no. 1: 'Requiem aeternam', with lead into no. 2: 'Noctune' indicated. Recop. 30 June 1937.
Page 2: no. 3: a varied reprise of no. 1, a major third higher, dated 2 July 1937.
Additional Note
First subject: 'Andante: Grave et pesant: L'austérité protestant de Calvin'. In F minor.
Second subject (as a reaction against the first): 'Mouvt de Valse, animé et souple: Pour Ginger Rogers'. This contains the idea used as the basis for 'L'élan' (Op. 163 no. 1) in the same key of E flat major.
Additional Note
Additional Note
p. 1:
no. 1: mode de la, 1 Dec 1937.
no. 2: mode de la, 2 Dec 1937.
no. 3: mode de ré, 2 Dec 1937.
no. 4: mode de la, 2 Dec 1937.
p. 2:
no. 7: mode de mi, [3 Dec 1937].
no. 6: mode de la 3 Dec 1937, together with the melodies (unharmonised) of nos. 16 and 12.
p. 3:
no. 8: mode de ré, 25 Nov 1937.
no. 9: mode de mi, 25 Nov 1937.
no. 10: mode de fa, n.d.
no. 11: mode de sol, 7 Dec 1937.
p. 4:
no. 12: mode de fa, 8 Dec 1937.
no. 13: mode de mi, 8 Dec 1937.
no. 14: mode de sol, 8-9 Dec 1937.
p. 5:
no. 15: mode de ré, 24-5 Nov 1937.
no. 16: mode de mi, 9 Dec 1937.
p. 6:
no. 17: mode de ré, 9 Dec 1937.
no. 18: mode de fa, 9 Dec 1937.
no. 5: mode de la, 2 Dec 1937, together with a list of the various modes used and the numbers of the chorales in each mode.
p. 7:
no. 19: [mode de mi puis de la ou de ré], [2 Dec 1937].
no. 19bis: Same theme but with 'corrections à la réalis[ation] de Mrs Robinson [a pupil at San Diego] sur ce texte', 2 Dec 1937.
p. 8:
no. 20: Canonic realisation in modal polyphony, 12 Dec 1937.
p. 1:
no. 1: mode de la, Nov 1937.
no. 2 (start): mode de la, n.d.
no. 3: mode de ré, Nov 1937, rev. 2 Dec 1937.
no. 4: mode de fa, n.d.
p. 2:
no. 2 (conclusion): mode de la, 5 Dec 1937.
no. 5: mode de sol, 5 Dec 1937.
no. 6: mode de ré, 5 Dec 1937.
p. 3:
no. 10: C minor, 12 Dec 1937.
no. 7: C major, 9 Dec 1937.
p. 4:
no. 9: F minor, Nov 1937.
no. 8: G minor, Nov 1937.
p. 1:
no. 11: B minor, 28 Dec 1937.
p. 2:
no. 12: G minor, 28 Dec 1937.
p. 3:
no. 13: F major, 28 Dec 1937 together with a fugue subject in A major, and the start of a Pastorale in G major, dated Oct 1937 (see MS 95a).
no. 15: G major, 29 Dec 1937, together with a 'Thème de Sicilienne', 30 Dec 1937 (see MS 95b), and a 'Thème à voir pour bois. Final à un pastorale', 30 Dec 1937 (see MS 121, p. 2).
p. 4:
no. 16: mode de la, 30 Dec 1937 (see MS 98, p. 1).
p. 1: Theme for a 'Sicilienne' in D major, 30 Dec 1937. Same theme as on p. 3 of MS 95, together with a fugue subject in G major by Catherine Urner (copied by Koechlin).
p. 2: Fugue subject in A major (crossed out), together with the same 'Pastorale' theme as on MS 95, p. 2 (also crossed out), n.d.
p. 1:
no. 17: G minor, 7 Jan 1938.
no. 18: C minor (à 5), 8 Jan 1938 (see MS 98, p. 1).
p. 2:
no. 18bis (à 4, same theme as no. 18), 9 Jan 1938.
no. 18 (2 variants: à 3 and à 2), [9 Jan 1938].
p. 3: no. 16bis (conclusion from p. 1), together with notes about the nature of intervals (for teaching purposes).
p. 1:
no. 16ter: G minor, 14 Jan 1938 (cf MS 95, p. 4).
no. 18ter: C minor, 14-21 Jan 1938 (cf MS 96).
p. 2:
no. 19: mode de la, 21 Jan 1938.
no. 20: D major, 21 Jan 1938.
p. 1:
no. 8: mode de ré, late Feb 1938 ['réalisé à la Schola'].
no. 9: mode de mi, late Feb 1938.
p. 2: nos. 10 and 10bis: ['modal-modulant'] (2 versions of same theme), 1 March 1938.
p. 3: no. 11: D major, 1 March 1938.
p. 4: no. 12: G minor, 2 March 1938.
p. 5: no. 13: C minor, 3 March 1938.
p. 6: no. 4: E major, late Feb 1938.
p. 1: no. 21 (variant): E flat major, 15-16 March 1938.
p. 2:
no. 23: mode de la (modulant), 16 March, realis. 19 March 1938.
no. 15: mode de mi (theme only), n.d.
p. 1: Fugal exposition ( 4) in D minor (subject by Koechlin), 22 March 1938. See also MS 105.
p. 2: Fugal exposition (à 4) in A minor, 'sujet d'après [André] Géldage', 27 March 1938.
p. 1: no. 34: mode de la, realis. 13 April, rev. and recop. 14 [April 1938].
p. 2: no. 35: 'Exercice de modulations', B flat major, 13-14 April 1938.
p. 1: Op. 168 no. 39: 'Realisation in triple [and quadruple] canon', G major, 7-8 May 1938.
p. 2: Op. 172 no. 1: mode de la, 13 May 1938.
p. 1: In B flat minor (à 4), 12 May 1938, recop. on same day on p. 3.
p. 2: Openings only in C and F minor, May 1938.
p. 4: In D minor (à 4). 'Exposotion d'un sujet assez difficile et avec un C.S. mouvementé', 12-13 May 1938.
p. 1: no. 2: mode de la. Theme 16 May, realis. 26 May 1938.
pp. 1-2: no. 3: C minor 'avec des parties modales'. Theme 16 May, the passage on p. 2 can be found on the lower part of p. 3, also dated 28 May [1938].
pp. 2-3: no. 4: mode de la, recop. of MS 107 made on 27 May 1938.
p. 4: Sketches for no. 3 (treble and bass only), n.d.
Sept. 20-22 1938 Op. 173: Petites pieces nos. 1-4
p. 1: B minor, 26 May 1939.
p. 2: G minor, n.d. (Second part added in 2 bars).
p. 3: C major, 30 May 1939. Marked 'envoyer thème à S[ampuyo] Brand o' (a pupil of Koechlin's since 24 March 1938).
p. 4: Neat copy of p. 3 (with an extra penultimate bar), dated 30 May-1 June 1939.
Page 1 contains a fugal exposition (à 4) in G minor, 21 June 1939.
Page 2 contains a modal choale theme of 21 June 1939 used in an examination at the Schola Cantorum, Paris.
p. 1: no. 37: A major, n.d., but possibly April 1939.
p. 2: no. 33: G minor, theme only, July 1939.
p. 1: Exposition of a 'fugue symétrique', subject by Koechlin, 4 Aug 1939 (see MS 40 Note).
p. 2: Various themes, n.d., incl. 'thème à voir pour bois - final?' which is the same as that on MS 95 p. 3 (30 Dec 1937), but with some additional developments.
Page 1: Unidentified themes in G minor (late July-Aug 1939) and F sharp minor (10 Aug 1939), together with some notes (Crossed out) realting to the composition of Les bandar-log (Op. 176): 'Détails à revoir pour les fausses notes de la musique composée pour les singes. Simplifier la présentation. Mais ensuite il y aura la fugue réunié aux gambades [des singes] et le Retour à Bach'.
Page 2: Undated examples for harmony lessons.
p. 1: Preliminary (purely rhythmic) sketches for sections entitled 'L'atonal' (Eschig orch. score, 1967, pp. 27-8) and 'Le Retour à Bach' (orch. score, p. 42), 4-6 Aug 1939.
p. 2 (centre): Unused sketch relating to orch. score pp. 78-9 ('la fin de la percussion'), surrounded by two themes in D major (12 Aug [1939]), which were probably not intended for Les bandar-log.
p. 1: C minor. Sujet [d'après Ravel] donné à faire à Guy Lambert', 7 Dec 1939 (see MSS 127 and 131 pp. 1 and 3).
p. 2: F minor [for R. Thiry], 9 Dec 1939 (see MSS 128 and 131 p. 2).
p. 3: Copy of start of p. 2. 'Sujet envoyé à R. Thiry', [9 Dec 1939].
p. 1: Dorian mode. Theme in ink with sketchy realisation in pencil.
p. 2: As p. 1, theme in G major. n.d., but probably 1939.
p. 1: C minor. 'Hommage à l'infante défunte [Ravel]'. Another working of the subject sent to Guy Lambert (see MSS 126 p. 1 and 127), 22 March 1940.
p. 2: G minor. Another working of the subject sent to R. Thiry (see MSS 126 pp. 2-3 and 128), here transposed up a tone, 22 March 1940.
p. 3: C minor, as p. 1 above, but with the theme announced in the tenor instead of the soprano (see MSS 126 p. 1 and 127), 25 March 1940.
2. Solitude sur les falaises. 11 pp., Dec 1929, orch. 5 Nov 1945, Villers.
3. Aux champs. 8 pp., Paris, 30 Nov-1 Dec 1929, orch. 4 Nov 1945, Villers.
4. La mer joyeuse. 19 pp., Autumn 1929, orch. 6-7 Nov 1945, Villers.
Additional Items
Setion 2: Music by Koechlin Copied by Catherine Urner (works from 1895 to 1935)
Additional Note
Section 3: Manuscripts by Other Composers (1929-35)
p. 1: Fugue subject in C minor by Urner. 4 pages
pp. 2-3: Voice part of Henri Duparc's song: La vie antérieure copied by Urner.
p. 4: Harmonic exercise with figuresd bass copied out by Urner from Koechlin's Traité de l'harmonie, Vol. 1 1927, p. 90.