in the Adventure Magazine between July 10, 1923, and August 23, 1926, with an unusually rich selection of hitherto unprinted songs of the sea, lumber camps, Great Lakes, the West, and similar folk ballads.

From the Oxford University Press, London, through the manager of its music department, Hubert J. Foss, Esq., the manuscript orchestra score of Gustave Holst's ballet, "The Golden Goose," signed by the composer and containing several sections in his handwriting.

From O. G. T. Sonneck, Esq., the pencil manuscripts of his two recent books, "The Riddle of the Immortal Beloved" and "Beethoven Letters in America," these papers taking their place with a great deal of similar material which the former chief of the division had previously given to the Library.

From Messrs. Steinway & Sons, New York, the continued loan of an upright piano for the use of readers in the division engaged in research and reference work.

From Mrs. Rose Fay Thomas, the widow of Theodore Thomas, 76 volumes and notebooks containing almost all of the more than 10,000 programs given by her husband and his orchestra in New York, Chicago, at the festivals in Cincinnati, and on tour; most of the entries are in the conductor's own handwriting. Furthermore, Mrs. Thomas has given to the division the tuning fork, sounding the "official international pitch, A=435," which was expressly made for Mr. Thomas by Messrs. Valantine & Carr, of Sheffield, England. This "international" pitch, by 9/16 of a tone lower than the pitch formerly adhered to in America, was adopted by Thomas in 1882, to conform with the standard pitch then accepted by most of the European countries. In referring to this drastic and far-reaching change, Mrs. Thomas, in her "Memoirs of Theodore Thomas," wrote that "no other single act of his life illustrates so well how intimately Thomas was associated with the musical life of the whole country."

From the Victor Talking Machine Co., Camden, N. J., in exchange for an older model (given in 1925), the latest type of "orthophonic" machine in a handsome walnut case, together with over a hundred double-face disks of the new electric recording.

PURCHASES:

Schumann

holograph.

It is most gratifying that, upon solicitation, several orchestras in the United States have given the obtainable back numbers of their program books and have consented to supply their current issues. The division now regularly receives the program books of the following symphony orchestras: Boston, Cincinnati, Cleveland, Detroit, Hollywood Bowl, Los Angeles, Minneapolis, New York Philharmonic, New York Symphony, Omaha, Philadelphia, Rochester, Seattle, and Syracuse.

Undoubtedly the year's most valuable acquisition-in both the material and the ideal sense is the holograph score of Robert Schumann's "Spring Symphony " in B flat, Op. 38. It is written with pen and ink in the composer's hand, and prefixed to it are his pencil sketches for the entire work (in form of a piano reduction), all bound together in the original cardboard cover. It was acquired at the first sale of the Heyer collection, in December, 1926, with the aid of a thousand dollars given to the music division by the Beethoven Association of New York. (See the Librarian's report for 1925.) The inscription on the title-page of the sketches reads: "Frühlings Symphonie. 23-26 Januar 1841. Leipzig. 1. Frühlingsbeginn, 2. Abend, 3. Frohe Gespielen, 4. Voller Frühling." Over the first page of the full score is written: "27 Januar 1841, Frühlingssymphonie." At the end of each movement the date is given when the scoring was finished; thus the end of the first movement has February 4; the second, February 6; the third, February 13; and at the end of the last movement are the words: "Beendigt am 20sten Februar 1841. Leipzig. Robert Schumann." The conception of the entire symphony took four days and the scoring of it less than four weeks. But the innumerable corrections in the score-many of them made after the first performance-bear witness to the pianist Schumann's wrestling with the unfamiliar problems of the orchestra.

In binding, the volume was provided with two preliminary leaves; on the first of them Schumann listed some 50 performances of the work between 1841 and 1852, in Germany and other countries, with the dates and the names of cities and conductors. The first perform

ance of the symphony took place at Leipzig on March 31, 1841, under Mendelssohn, who conducted from this score. Three performances were conducted by Schumann himself, who so indicated them in his list; the first at St. Petersburg, March 9, 1844; the second at Vienna, January 1, 1847; and the third at Düsseldorf, in May, 1852. The other preliminary leaf bears in Clara Schumann's handwriting a dedication from her to the conductor, Hermann Levi, in whose possession this relic remained until his death in 1900, when it was returned to the Schumann family. In 1906 it became the property of Wilhelm Heyer in Cologne. The precious manuscript is described at length in the fourth volume of the monumental Heyer catalogue compiled by Georg Kinsky, the curator of the former Heyer museum. The Heyer collection of music and musical instruments was one of the greatest ever brought together by a private collector. It passes out of existence as another "victim of the war.'

Flotow holo.

A unique addition is the holograph score of Friedrich graph. von Flotow's unpublished opera "Naida." The music covers 621 pages. The inscription on the title page reads: "Naida (auf französich Le vannier) oper in drei Akten, Text von H. de St. Georges et Léon Halévy. Deutsch von Franz Dingelstedt. Musik von Friedrich von Flotow. Deutsche original partitur von mir selbst geschrieben, beendet im Jahre 1864 in Wien (signed) Fr. von Flotow." Prefixed to this page is an affidavit by Mrs. Rosina Svoboda, widow of Friedrich von Flotow, dated Innsbruck, November 8, 1920, attesting the genuineness of the holograph. The manuscript, together with interesting letters and papers of the composer and his family, were bought from his daughter.

Although written originally to a German text, this opera of Flotow has never been given in Germany. It was first performed in St. Petersburg, in December, 1865, at the Maria Theater, where it was sung in Russian. Later the text was translated into Italian by Dr. Justus Eisner; this translation is added to the German text in the manuscript. The Italian version was given at Milan in June, 1873, at Genoa in November, 1873, and at Naples in October, 1874. This ended the opera's short life.