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The Ricardo Vines Piano Music Collection at the University of Colorado at Boulder.

Ricardo Vines (1875-1943) was a Catalan pianist who carefully amassed and cared for a substantial library of published and manuscript music. Because he was a leader in premiering new music during the years from 1900 to 1930, his library is rich in works from this period. In addition to being remembered for his remarkable technique, Vines is recalled today primarily as a champion of the piano works of his French, Spanish, Russian, and South American contemporaries. As noted by John and Anna Gillespie, Ricardo Vines "would have had a brilliant virtuoso career had he not ardently and actively promoted modern music.... Despite an indifferent, sometimes hostile public, Vines waged a lifelong crusade for contemporary music, repeatedly playing new music which no other pianist would even think of performing." (1) His music library reflects the large number of composers, both well-known and forgotten, who sent their music to the pianist in hopes of having it performed.

After Vines died in 1943, his music collection--including manuscripts, autograph dedications, and inscriptions--was scattered by his family. The bulk of his library, 836 pieces, was purchased by the University of Colorado at Boulder (CU) in the mid-1950s. Unfortunately, after the purchase it was divided up as a "seed" collection. The purchase has recently been reconstructed as the Ricardo Vines Piano Music Collection and is now located in the Howard B. Waltz Music Library. This article provides a brief biographical sketch of Vines, describes the history and reconstruction of the collection, and highlights its contents. A list of selected holdings in the collection describes some of the most significant pieces individually, including those bearing inscriptions, dedications, and the pianist's markings. Finally, a listing of all the composers represented in the collection is provided.


Ricardo Javier Vines y Garcia Roda was born in Lerida (Lleida), Spain, on 5 February 1875. In 1885, he became a student of Juan Bautista Pujol in Barcelona. At the suggestion of Isaac Albeniz, his mother brought him to Paris to study in 1887, where he enrolled first as an auditor, then as a full-fledged participant in the Paris Conservatory class of Charles-Wilfred Beriot. (2) There he met Maurice Ravel. The young composers, who were born the same year, may have first met through their Spanish-speaking mothers. (3)

Vines quickly became one of the foremost members of Beriot's class, and was invited to perform his teacher's own works--including a February 1893 performance of a piece he identifies only as "the second movement of de Beriot's concerto," with the composer playing the orchestral reduction. (4) This was probably the Second Piano Concerto, op. 46, judging from a heavily fingered copy of an early publication of that work in the University of Colorado collection. (5) In March 1895, Vines also performed Beriot's Sonata for Two Pianos, op. 61, at the Salle Pleyel with Beriot as the other pianist. (6)

Vines was an autodidact--probably a consequence of a pedagogical system in which young students were given little other than a musical education at an institution like the Paris Conservatory. He taught himself English (specifically to be able to read Poe in the original), mathematics, astrology, palmistry, and any number of other branches of the "occult sciences." He also read extensively from the literature of the time, ranging from the symbolists including Maurice Maeterlinck, Georges Rodenbach, and Stephane Mallarme; to the decadents Jules-Amedee Barbey d'Aurevilly, Joris-Karl Huysmans, and Auguste, comte de Villiers de l'Isle-Adam; to Catholic mystics like Ernest Hello; and utterly unclassifiable authors such as the Rosicrucian Catholic Josephin Peladan. Vines shared many of his books--notably Aloysius Bertrand's cycle of prose poems Gaspard de la nuit and the works of Poe and Baudelaire--with his good friend "Mauricio" Ravel.

In company with Ravel, reading two-piano or four-hand arrangements of orchestral scores, Vines discovered new music from the end of the nineteenth century, including the works of the modern Russian composers and the symphonic poems of Cesar Franck. Their musical explorations extended to Emmanuel Chabrier (whose two-piano Valses romantiques they played privately for the composer), Camille Saint-Saens, and others.

Vines premiered Ravel's first piano works, including the Menuet antique (dedicated to Vines), Pavane pour une infante defunte, Serenade grotesque, and Jeux d'eau. There is little question that Vines's brand of pianism, dependent on his exquisite pedaling and command of color, had a tremendous influence on Ravel's development as a composer. Around 1900. Vines became acquainted with Debussy--a friendship that ultimately was to outlast that with Ravel (7)--and seems to have worked a similar magic on Debussy's pianistic style. Vines's influence can be discerned in Debussy's move from the neoclassicism of Pour le piano (premiered by Vines in 1902, but composed before they had met) to the impressionism of Estampes (premiered by Vines in 1904). (8)

Vines quickly found himself much in demand as a pianist for new music, with numerous works dedicated to him over his career, and with premieres of many more to his credit. The number of composer signatures in the Vines Collection testifies to how anxious composers were to give him their works to perform. As Brody noted, a performance by Vines almost ensured a work's acceptance and success. (9) At times Vines's musicality even outshone the great works he premiered. In 1904, the Monde musical critic reported after the premiere of Debussy's Estampes, "One certainly has the right to believe that the three little piano pieces presented by M. Vines--with such mastery and ability--are of very secondary interest." (10) Among his other new-music interests, Vines was instrumental in the public performance of the piano music of Erik Satie, resulting in a 1913 comment that "M. Vines is the ideal pianist for the cult of modernism." (11)

According to the programs of the Societe Nationale and the Societe Musicale Independante, during the years 1898-1930 Vines gave Paris performances--many of them premieres--of works by numerous composers, including Albeniz, Balakirev, Borodin, Castelnuovo-Tedesco, Chausson, Debussy, Dukas, Falla, Faure, Glazunov, Granados, Lalo, Musorgsky, Poulenc, Ravel, Rimsky-Korsakov, Rodrigo, Satie, Tailleferre, and Turina. (12) Many of these composers are represented in the CU collection.

Beyond Paris, Ricardo Vines performed in London and Brussels, spreading the gospel of the modern French music of the time in programs calculated to showcase what he considered the best of French music. (13) His strong affinity for the music of the Russian school led to--and was fed by--a tour of Russia in 1900. In the years immediately following he brought the latest compositions of Balakirev, Lyapunov, and other modern Russian composers back to Paris. He also gave the Paris premiere of Musorgsky's Pictures at an Exhibition in 1905.

Beginning in 1914, Vines was often away from Paris. He spent much of his time at Bagneres de Bigorre in the south of France. (14) In that same year, the Societe Musicale Independante commissioned Vines to perform French repertory in Berlin. He also began a series of trips to Spain, including annual returns to his hometown of Lerida, and tours of Spain during the years of World War I.

In 1920 and 1924 Vines toured South America, cultivating connections with composers of the nascent national schools in Argentina, Uruguay, and Chile. (15) His first programs in Buenos Aires in 1920--a series of seven for which he had been contracted before he left Paris--provided a survey of keyboard literature, featuring 212 pieces by some fifty composers. He ended up staying on, in part to recoup expenses that had not yet been fully covered by his initial series of concerts. He subsequently performed throughout the provinces of northern Argentina as well as in Montevideo, Uruguay. His second tour to Argentina in 1924 included numerous collaborations with Argentine musicians and performances of works by Argentine composers.

Between these South American tours, Vines made a point of performing South American compositions in Europe. In 1926, he performed an all-South American program in Paris. In the years 1925-29 he programmed works by Armando Chimenti, Manuel Gomez Carillo, Vicente Forte, Alberto Williams, and other South American composers in concerts throughout France and Italy--apparently performing to small audiences and little applause.

He traveled to Buenos Aires again in 1930 and stayed in South America for five years, visiting Chile (1932-33) and Uruguay (1931 and 1934). He returned to Paris in the spring of 1935. The Vines Collection includes numerous piano works that Vines learned and performed during these sojourns.

Ricardo Vines's greatest role was as a champion of the works of his contemporaries and as the pianist whose playing style inspired many of the most important works of pianistic "impressionism." As a teacher, he also left an important legacy, educating a younger generation in the aesthetics of his own pianism. His most famous pupils were the great French pianist Marcelle Meyer (whose recordings of French repertoire from the second quarter of the twentieth century tell us much about the performing tradition of these works as communicated to her by Vines) and the composers Francis Poulenc (who credited Vines especially for his mastery of the pedal) and Joaquin Nin.

Vines continued his concert career after his return to Paris in 1936, but seems to have gone into a professional decline, the details of which are elusive. (16) He returned to Barcelona but could not re-enter France due to the Spanish Civil War. According to his niece Elvira Vines, his final years were "very painful for him." (17) Unable to make a living in his war-ravaged homeland, he died in poverty on 29 April 1943. (18)

Vines made only a few recordings late in his career. The 1994 compact disc Ricardo Vines and Francis Plante (Opal CD 9857) includes most of his discography--recordings made in 1930 and 1936. This recording includes Vines performing sixteen short works by Scarlatti and Gluck, as well as pieces by Borodin, Albeniz, Turina, Debussy, Manuel Blancafort, Giovanni Troiani, Lopez-Buchardo, and Pedro Humberto Allende.


Several years ago, curiosity about Vines grew after staff and students at the Waltz Music Library repeatedly stumbled upon pieces in the circulating stacks with the unique stamp "Bibliotheque musicale Ricardo Vines." Interest increased after a graduate piano student found a manuscript reduction for two pianos of a concertino by Jeanne Herscher-Clement bearing this stamp. A cursory survey of the library's holdings in the Library of Congress's M20s classifications revealed a significant number of scores from the pianist's library, with several bearing inscriptions by the composers. These scores obviously needed to be identified and moved to the library's special collections. But how big was the collection and what did it contain?

Few of the scores had cataloging records that had been retrospectively converted. Also, at the time, no information about the source of this music could be found. Little progress was made for a few years until two boxes surfaced that contained computer punch cards labeled "Vines, Music Library." Punch card readers are now considered antiques, and converting the information to a usable format was considered too expensive. Besides, the numerical cataloging schema remained a puzzle, and the cards were clearly out of order.

A few more years passed before the authors decided to attempt reconstruction of the collection. A bright graduate student was hired, and after only a few hours, the numerical cataloging code was broken. (19) Because the punched data was also typed at the top of each card, the student simply transcribed the data.

Working both with the cards and card catalog, the student completed a first draft bibliography of the collection in about two and a half months. Examining the music was also necessary, because cards for some pieces that are not part of the collection had also been placed in the boxes. Vines's stamp, which he seemed to have used consistently, was very helpful. The collection, which had been estimated at around four hundred pieces, turned out to number over eight hundred.

The collection's provenance, however, remained a mystery. How did the Catalan pianist's music wind up in Boulder, Colorado? The date and cost were found in a memo of 20 October 1954 authorizing the purchase of the collection for $275. (20) One possible motivation for splitting up the music and putting the collection into circulation was also found; 1954 was the year when the College of Music began offering its D.M.A. degree. (21) No other information was given in the memo, and its recipient, Warner Imig, a former dean of the college, did not recall the collection or the details of its purchase. Nevertheless, Imig suggested that retired chair of the piano department Storm Bull might recall something about the purchase. (22) Bull, despite being eighty-nine years old, had a mind like a steel trap. Indeed, he was able to help.

Bull recalled that he had been the person who had seen the collection advertised in a dealer's catalog and had instigated its purchase. Unfortunately, he did not recall the dealer's name. He also remembered that a second lot of Vines's music, primarily manuscripts, was offered in the same catalog. The university was unable to purchase this second lot because of the cost. Further, Bull related that the number of lesser-known composers represented in the collection, specifically those from South America, was the impetus for him to start compiling his three-volume Index to Biographies of Contemporary Composers during his tenure at Boulder. (23)

To date, the dealer has still not been identified, but two main possibilities exist. Based upon clues in the writings of Elaine Brody and Esperanza Berrocal, the music was possibly offered by the Parisian antiquarian dealer Pierre Beres. Brody mentions a special list issued in New York which "included the portion of Vines's library that was sold in the United States." (24) Berrocal also mentions Beres, stating that "The French auctioneers Beres and Griland also bought part of Vines's scores" from the family. (25) Collector Hans Moldenhauer (1906-1987) bought his Vines manuscripts from Samuel Orlinick of the Scientific Library Service in fall 1954. (26) This may have been the lot of manuscripts that Bull recalled, and the date of Moldenhauer's purchase, fall 1954, matches that of the CU collection. Moldenhauer's collection is now held primarily by Harvard University and the Library of Congress. (27)

In addition to the manuscripts from Vines's library in the Moldenhauer Archives, there are also two other libraries holding scores once owned by the pianist. The University of Delaware holds a set of thirty-five manuscripts bearing Vines's stamp. Information regarding the provenance of these manuscripts is not currently available. (28) In comparison, the Hans Moldenhauer Archives includes a total of twenty-eight manuscripts from Vines's library. There is also a set of ten scores (including three manuscripts) located in Lerida in an archive dedicated to Vines at the Auditori Municipal Enric Granados. The family reportedly donated these after Vines's death. (29) With the exception of a notebook at the Library of Congress that was shared by Granados and Vines, none of these collections contain manuscripts by major composers. (30)

The next steps in the reconstruction of the Boulder collection involved cataloging the newly identified scores and checking the holdings of those titles to determine if the items in the collection are rare or widely held. A total of nearly two hundred of the newly identified scores required original cataloging. Online records for all titles in the Vines Collection are now both in CU's local catalog (Chinook, and in OCLC's WorldCat union catalog. About half of the titles are reported in WorldCat as unique to CU Boulder.


The Ricardo Vines Piano Music Collection at the University of Colorado includes 836 pieces of sheet music accumulated by the pianist from the 1880s through the 1930s, and with few exceptions containing music actually composed and published during those years. Only two of these items are manuscripts. The first is the Herscher-Clement concertino mentioned above. The second, the Berceuse by Armande de Polignac, is a combination of printed and manuscript music, with the handwritten sections likely the work of the composer. (31)

An overview of the contents of the collection gives an idea of the wide spectrum of music from the period that has failed to enter the standard repertoire. While it is easy to see why many of these pieces have been neglected, there are also many treasures to be found. Vines's tastes and circle of acquaintances were broad, but his sympathies seemed to lie strongly with music that was stylistically within the French orbit. Outside the large number of French scores in the collection, it includes music of many Russian, Spanish, and South American composers, along with scores from Hungary, Holland, Italy, Belgium, and even Greece. (32) In the case of Russian composers, Vines was under their influence in his young years, and later served as a kind of ambassador bringing new Russian piano music to Paris. Two important South American composers who had studied in France--Alberto Williams and Pedro Humberto Allende--may have helped Vines establish himself in South America and, in turn, been helped by his performances of their music. (33)

The vast majority of the scores in the collection are clean, with no markings. Many of these also bear a stamp (usually "Hommage des editeurs" or "Hommage de l'auteur") indicating that the copy was given to the pianist for perusal or to encourage his interest. In most cases, it would seem that Vines was not interested. The significant number of items that have markings in Vines's hand were evidently performed or at least studied with the intent of performance. Of course, many works that Vines premiered were published only after the first performance, and in those cases the presentation copies given to Vines--many signed by the composers--bear no markings in his hand.

It might seem remarkable that Vines's markings are still clearly identifiable after nearly fifty years in the Waltz Library circulating collection. Very likely the lack of records in the online catalog coupled with the obscurity of much of the literature combined to preserve most of them. Vines's markings are most commonly, and not surprisingly, fingerings. In his younger years, fingerings are fairly systematic: a number for every note in a passage. Later, he limited himself to especially tricky matters or to showing special finger substitutions to achieve contrapuntal connections or superior legato. Fingerings appear in blue crayon or blue pencil as well as in various dark gray and black pencils. Sometimes a printed marking has been altered by hand, including marginal emendations in some scores that may well indicate the composer's input. There are also corrections of notes, usually written out with the French names, and accidentals. Such corrections were occasionally done in ink, possibly indicating direct input from the composer. Vines also marked some reworkings of complicated passages.

Several of the pieces bear Vines's signature. Others in the collection were inscribed or dedicated to Vines in the composers' hands. While the majority of these names are obscure, some significant autographs are present in the collection. A few of the most interesting and significant inscriptions include those by Michel-Dimitri Calvocoressi, Mario Castelnuovo-Tedesco, Joaquin Turina, and Alberto Williams.

The following sections point out some highlights of the collection, beginning with materials dating from Vines's years as a student, followed by a brief description of the few works of standard repertoire in the collection, and continuing through his commitment to new music from France, Russia, Italy, and South America.

Scores from Vines's Student Years

The collection includes a number of scores that Vines studied in his youth, including the Suite polonaise, op. 51, by Charles-Marie Widor and La triomphale, op. 192, by Edward Wolff, as well as works by Moriz Rosenthal, Theodor Leschetizky, Jacques Blumenthal, Felix Blumenfeld, and others. In addition, there are thirty-five scores of works written by Vines's conservatory professor, Charles-Wilfrid Beriot.

Of particular interest are the piano scores to Beriot's three piano concertos. Concerto no. 1, op. 40, bears numerous markings, some in Spanish, and handwritten indications to facilitate performance of the piece as a piano solo. There are two scores to the Second Concerto, op. 46, both published by Hamelle. One represents an earlier printing, carefully and neatly fingered in every passage of even moderate difficulty. It also has a number of corrections, a few interpretive marks in Beriot's hand, and one cut indicated on pages 62-63. The second score of the concerto bears Vines's signature on the cover, but is otherwise unmarked. The two-piano version of this work was performed on Vines's official debut recital, 21 February 1895 at the Salle Pleyel. Beriot was supposed to have performed the orchestra reduction, but had to cancel at the last minute. Vines's diary mentions how he had to make the announcement of the substitution of another accompanist from the stage. (34) The score to the Third Piano Concerto, op. 71, includes fingerings and hand redistributions in blue pencil in Vines's hand. The professor, in his efforts to help his young protege's career, invited Saint-Saens to his home to meet and hear Vines. Beriot accompanied Vines in a performance of the work, after which Saint-Saens is reported to have said, "He plays better than Saint-Saens. Such strength, such brio and yet so much delicacy." (35)

Among the other Beriot treasures in the collection is Vines's copy of the first volume of a method, Mecanisme et style: Le vade-mecum du pianiste, Beriot's opus 66. The book is an important document of historical pedagogy, containing all possible permutations of five-finger patterns, plus scale fingerings, scales in thirds, sixths, etc. Vines's diary entry for 21 December 1888 includes this report on a class: "I played some of the 'mecanisme' and Monsieur de Beriot told the students that I would surpass them all." (36)

The Vines Collection's copy of Beriot's Sonata for Two Pianos, op. 61, is relatively clean, with only a single interpretive marking on page 19 of the piano II part. Nonetheless, the piece was important in Beriot's early promotion of his student. On 1 March 1895, Vines mentioned in his diary that Beriot "wrote to me to tell me that the Pleyel Company had asked him if we could perform his sonata for two pianos together at a matinee at the Salle Pleyel, on Sunday, March 7...." (37)

Many of the other Beriot scores in the collection--mostly pedagogical salon music, such as the Allegretto, op. 35, A la Espagnola, op. 60, and 4 morceaux a rythmes rompus, op. 56--have markings in both Vines's and Beriot's hands. Beriot's infrequent markings, often shaky, are generally interpretive, graphically imploring the student to crescendo or slow down.

Beriot assigned virtuoso pieces to Vines, evidently to sharpen his technique and probably also to give him a chance to show off for the impressionable wealthy hostesses of the Paris salons (Vines had begun contributing to the support of his family at the age of thirteen by performing for pay in people's homes (38)). The collection includes Edward Wolff's La triomphale, op. 192, with a handwritten date of 1889 on the cover. This work was part of what Brody calls "a diet of virtuoso piano music" being fed to Vines by Beriot. (39)

Julius Schulhoff's Sonata, op. 37, of which there are two editions in the collection, is a similar work. The edition published by Gerard is extensively fingered by Vines in the first movement only, while the one issued by Kybourtz (from the same plates) includes markings throughout in Beriot's hand. This work was one the twelve-year-old Vines brought with him when he came to Paris, according to his diary for 14 October 1887. He played the piece in an audition for a M. Fissot, who consequently gave him a letter of introduction to Beriot. (40) One can imagine that the new teacher, seeing the heavily marked score, requested that his new student obtain a clean copy.

As Vines rapidly progressed, he began competing for the Paris Conservatoire's coveted First Prize. After being passed over a couple of times, he finally succeeded in 1894 at the age of nineteen. The required work for the male students that year was Saint-Saens's Theme and Variations, op. 97. (41) Vines's score, with extensive markings in his and Beriot's hands, resides in the collection.

Vines's 1895 Salle Pleyel debut program was ambitious and lengthy, taking two-and-a-half hours to perform. He wrote in his diary "I played by heart and had no memory lapses.... There were only 14 pieces, but with the first two [Beethoven's Sonata "Appassionata" and Schumann's Carnaval] and the concerto [Beriot's second], it was more like 30!" (42) The collection includes Vines's marked scores not only of the concerto, but also of the following works from the program: Theodore Dubois's "Les myrtilles" from Poemes sylvestres, Moritz Moszkowski's "Tarantelle," op. 27, no. 2, and Theodore Ritter's transcription of the Scherzo from Mendelssohn's Midsummer Night's Dream.

Works by Famous Composers

Among the works in the collection that we would classify today as standard repertoire, there are a few of particular interest because of the extensive markings in Vines's hand. With the exception of Cesar Franck, the score of whose Prelude, aria et finale contains Vines's written fingerings in blue pencil, Vines had personal dealings with all of these composers. Vines prided himself on his performances of Franck's works and frequently played, among others, the Prelude, choral et fugue. (43)

Although the collection holds only a few works by Gabriel Faure, those scores show evidence of the importance of these works in Vines's repertoire. Perhaps the most interesting of these is his copy of the Theme and Variations, op. 73, with numerous markings. This could be the copy that he used to prepare for a Societe Nationale performance at the Salle Pleyel in 1902. (44) The markings include alterations of the printed tempos and added notes (octaves in the bass), in addition to fingerings.

Emmanuel Chabrier, whom Vines met in company with Ravel just prior to Chabrier's death, was immensely influential on the French composers of the time, especially Ravel. Among the collection's Chabrier holdings is the two-piano arrangement of Espana made by Camille Chevillard. Vines worked on this piece with Chevillard in 1892, (45) and performed it with Alfred Cortor for the Societe Nationale in 1914. (46) Chabrier's solo works also figured in Vines's repertoire. A 1927 republication of the Pieces pittoresques in the collection may have inspired Vines's inclusion of "Melancolie" and "Scherzo-Valse" from that set in a 1928 program at the Salle Erard. That program also included the collection's "Feuillet d'album," the fourth of Chabrier's Cinq morceaux pour piano. (47)

Vincent d'Indy, though perhaps not a household name in piano literature, was a central figure in Parisian musical life at the turn of the century. Vines performed his works in public and included him on a Brussels program of the modern French school. (48) Three solo piano works in the collection--Helvetia: 3 valses (nos. 2 and 3 only), Treize pieces breves, and Schumanniana--bear markings in Vines's hand. Of particular interest are the fingerings in the first of the three Schumanniana, a slow piece of no great difficulty. Here Vines has carefully shown organ-like finger substitutions in several voices to help ensure a legato rendition of the counterpoint. To see such detailed fingering in a slow movement when the other, faster movements of the set are essentially unmarked, gives a good idea of what the mature Vines felt was significant.

Although Vines was responsible for the premieres of most of the important piano works composed by Debussy and Ravel, those scores are unfortunately not part of the university's collection. It does include Vines's two copies of Debussy's D'un cahier d'esquisses, which he performed for the Societe Nationale in 1922, one of which contains a few fingerings in Vines's hand. (49) While this was not one of the works that Vines premiered, he did give the premiere of its companions, Masques and L'isle joyeuse, in 1905. (50) Maurice Ravel, Vines's friend from youth, is represented in the collection only by odds and ends, mostly transcriptions. Two of these that Vines probably performed are an arrangement for two hands of "Laideronnette, imperatrice des pagodes" from the four-hand Ma mere l'oye, and a transcription of the waltzes from the opera L'enfant et les sortileges. (51)

Albeniz's Iberia is represented in the collection by a copy of book 2 with fingerings, hand arrangements, and note corrections in Vines's hand. This copy is of interest because it presents the three pieces in an order that was later changed, with "Triana" printed first instead of last. These are the only pieces from Iberia that Vines performed on Societe Nationale concerts. He performed "Triana" first, in 1911 (it has by far the most markings of the three), followed by "Rondena" in 1914, and "Almeria" in 1922. (52)

Joaquin Turina, among the most important Spanish composers of Vines's generation, is represented by several scores, including Album de viaje, Ninerias, Sanlucar de Barrameda, and Trois danses andalouses. All but Ninerias are inscribed to Vines by Turina, and the Album de viaje and Trois danses andalouses are fingered in Vines's hand. The inscription on Sanlucar de Barrameda, is shown in figure 1.

Vines's copy of Rachmaninoff's famous Prelude in C-Sharp Minor, op. 3, no. 2, is also included in the collection. This sheet music, old and marked with Vines's fingerings in blue pencil, may well be the copy that, according to Elaine Brody, he had purchased in the summer of 1895. (53) Vines did not feature Rachmaninoff's music in his programming, and this early warhorse is the only score by the composer in the collection.

Works by Lesser-Known Composers

The real richness of the Vines Collection lies in the large number of scores by lesser-known composers from many countries. The listings in this section, by composer's nationality, describe only a small fraction of the holdings. Nevertheless, it gives some indication of the scope of the collection and may whet the appetites of those interested in this period for their own direct encounters with this remarkable accumulation of music.

Music from France

The majority of works in the collection are by French composers. Among these are Louis Aubert's Sillages, a score that includes corrections and interpretive markings that most likely emanate from the composer himself. Two others are annotated scores of works by Henry Fevrier--Nocturne no. 1, dedicated to Vines, and Intermezzo--that Vines premiered at the Societe Nationale in 1906 and 1910, respectively. (54) A number of works by Vines's longtime friend Gabriel Grovlez (a pianist with whom he performed two-piano arrangements of Franck's three organ chorales in 1899 (55)) are included. There are several scores of solo and four-hand works by Paul Ladmirault, a fellow member of Les Apaches. (56) One is possibly that which is referred to in Vines's 5 December 1903 diary entry, "Ravel came to dine and to rehearse four-hands a work by Ladmirault." (57)


Armande de Polignac was the niece of the well-known patron of music Edmond de Polignac. (58) The collection contains a number of her piano works, including a toccata dedicated to Vines, with his fingerings in the published score--a supplement to La revue musicale, a format that in this case suggests that the piece was not published elsewhere. There are two copies of her Berceuse. One copy, inscribed to Vines by the composer, is clean. The other, mentioned above, includes pages of manuscript, presumably in Polignac's hand, pasted over the original published piece--a significant and obviously later revision of the work.

Also included is a signed copy of Jean Poueigh's Pointes seches, with Vines's fingerings. Poueigh, who was better known as a critic under the name Octave Sere, was one of the early advocates of the music of Satie. The premiere of Pointes seches at the Salle Erard was described in unflattering terms in Vines's diary entry for 11 January 1908: "none of these pleased [the audience], as one would have expected, but I programmed these works out of camaraderie. Of course, I played them with music, an unusual thing for me." (59) There are two copies of Jean Roger-Ducasse's beautiful Six Preludes, one of which is fingered by Vines but missing its final page. Florent Schmitt is represented by numerous scores. An early set, Soirs: 10 preludes, includes some fingerings in two of its movements, "Un soir" and "Sur 1' onde." According to Vines's diary entry for 19 March 1912, he performed four pieces from the set at the Salle Erard on a program that also included Debussy's "Poissons d'or" from the second series of Images. (60)

Another work by Schmitt that Vines evidently performed is the Three Rhapsodies, op. 53, for two pianos. There are many markings in the second piano part of both scores in the set, all in Vines's hand. It is possible that the markings spread between the two scores were from two different performances, each one of different movements.

Henry Woollett's Prelude, fugue et final includes fingerings throughout and corrections on pages 2 and 5. Vines premiered the piece at the Societe Nationale on 18 April 1903. (61)

Music from Russia

Russian works figure prominently in the collection. Works by Mily Balakirev include Vines's extensively fingered copy of the Piano Concerto, the Scherzo no. 2 (in B-flat minor, like Chopin's), which Vines performed at the Societe Nationale in 1903, and a number of other important solo piano works. (62)

Among the works by Borodin in the collection, the most interesting is a song, "Chanson de la foret sombre" on a text by the composer. The French translation is credited to the Greek-descended music critic and linguist Michel-Dimitri Calvocoressi, fellow Apache and occultist. (63) The cover has a handwritten inscription in Cyrillic script from Calvocoressi, with his signature and Vines's name transliterated as well (fig. 2).

The pianist-composer Sergey Lyapunov is represented by a signed score of his Nocturne, op. 8; two piano concertos (no. 1 includes corrections in red ink, fingerings, and penciled dynamics); and the second of the twelve Etudes d'execution transcendante, "Ronde des fantomes," with Vines's fingerings.

Arthur Lourie, an avant-garde Russian composer, was important in the early Soviet era. Appointed by Lenin as head of the music section of the state cultural and educational department, he fled to Berlin after the Soviet government grew tired of modernism. He was both influenced by and influential upon Stravinsky, and composed a number of intriguing piano works. One of the scores here, an extremely amusing March dedicated to the young Vladimir Horowitz, contains Vines's fingerings.

Music from Italy

Among the Italian composers in the collection, the most important is Mario Castelnuovo-Tedesco. On 19 March 1927, Vines gave what was probably the Paris premiere of a large-scale work, Piedigrotta 1924, for the Societe Nationale. (64) Vines's heavily marked score, which is not inscribed by the composer, resides in the collection. The markings include timings and thoughts for extracting various sections for partial performance. The collection contains a number of scores inscribed to Vines in Castelnuovo-Tedesco's hand and dated individually between 1916 and 1924, including Il raggio verde, op. 9; Alghe, op. 12; Cipressi, op. 17 (fig. 3); I naviganti, op. 13; and Questo fu il carro della morte, op. 2. Piedigrotta 1924 is the only one of these that Vines definitely performed. Of the others, only Il raggio verde, with one of the earliest inscriptions, dated 1918, contains any markings at all. (65)

Music from Latin America

Of the Latin American composers, the largest number of works by far is by the Argentine Alberto Williams. After completing his education in Argentina, Williams studied composition and piano on a scholarship at the Paris Conservatoire from 1882 to 1889. He returned to Argentina to perform, compose, and establish a conservatory using the methods he had been exposed to in Paris. (66) Evidently Williams was in Paris in 1915, at which time he signed the score of his Vidalitas, op. 61, for Vines. Whether Vines's first trip to South America, in 1920, was in part a result of this encounter makes for intriguing speculation. The collection's scores of Williams's Milongas, op. 63, and Cantares, op. 70, were inscribed to Vines in 1920, the year of that first South American sojourn. Upon Vines's return to South America in 1924, he received a printed dedication in Williams's Poema de la quebrada, op. 79. This score also has a handwritten inscription from the composer and Vines's fingerings in blue pencil.


In the 1930s, when Vines was living in Buenos Aires, Williams inscribed scores of two compilations, one of Milongas and one of six pieces extracted from the series of Poemas. Vines's abiding interest in Williams's music is evident from the number of pieces that bear his fingerings and markings, including En la pampa, op. 76; Poema fueguino, op. 86; Cantares: Chants populaires, op. 70; and Suite Argentina, op. 91. The music employs a French pianistic sensibility with a combination of Argentine folklore--most obviously in the Milongas--and pictorialism, as in the evocatively titled movements of the Poemas (see figure 4, and examples in the listing of selected holdings).


The Chilean composer Pedro Humberto Allende, who studied in Paris and Madrid in 1910-11, was influenced by Florent Schmitt. While his later music was based on his extensive studies of Chilean folklore, the short pieces included in the Vines Collection are written in an attractive and somewhat dissonant postimpressionist style reminiscent of Schmitt. The scores of the Four Etudes and the Two Preludes bear fingerings in Vines's hand. He premiered the Miniatures grecques for the Societe Nationale on 20 April 1929. (67) All of these works were in Vines's South American touring repertoire, and appeared frequently on his programs in Chile and Argentina in the 1930s. (68)


Uruguayan composer Luis Cluzeau-Mortet was also part of this first generation of South American nationalist composers. His Visiones camperas, a set of three short pieces, is dedicated to Vines and was premiered by him on 21 November 1931 in Montevideo. (69) The score is signed by the composer and includes Vines's fingerings.

The Argentine composer Maria Isabel Curubeto Godoy had been a student of Theodor Leschetizky and Giovanni Sgambati in Europe. Along with other of her works in the collection, Vines performed the First Nocturne a number of times in his South American tours. (70) The collection's copy includes fingerings. The composer signed Vines's copy of her Carnavalesca; aside from the signature, the score is unmarked and there is no evidence that Vines ever performed the work.

Several scores represent Raoul de Verneuil, a Peruvian. Of these, a set of three dances--"Colinas," "El puma," and "La boa"--are extensively fingered and corrected. These were most likely part of the program that Vines presented to open the Peruvian Pavilion at the Paris Exposition of 1937. (71) The markings in the scores include added dynamics, corrected notes, added ties, added tempo markings, and even a cut. The care that Vines obviously took with these works is remarkable. At the very end of his career, he was still doing his part to promote the music of an obscure composer from a country with no Western musical tradition to speak of, and working with that composer to present the best possible performance. This commitment is especially striking in light of the nature of these pieces--primitivist evocations of Peruvian folk music, notable for an extraordinary and original harmonic language, and a modernist aesthetic largely absent from Vines's repertoire.


Ricardo Vines's abiding interest in the music of his contemporaries may, as John and Anna Gillespie suggest, have made his career less materially successful. That passion also created one of his most important legacies, the collection of music by his contemporaries that he accumulated throughout his creative life. The collection now at the University of Colorado at Boulder documents a particularly fertile period in the history of piano music, offering a view, not necessarily of what we have come to know as the standard repertoire of the era, but of a broad cross-section of the composers who were active at the time. Just as Beethoven overshadowed many German composers of the early nineteenth century, the early twentieth century was likewise dominated by the figures of Ravel and Debussy. As a result, many of their contemporaries, both inside and outside of France, have been forgotten. This collection, with its broad base of the individual composers and nationalities represented, offers extensive opportunities to performers and scholars interested in further exploration of the period.

The listing of selected holdings in the collection that follows high-lights some of the more interesting scores from Vines's library; editions that are not otherwise represented in OCLC's WorldCat or the RLG Union Catalog are indicated by asterisks. An index of all the composers represented in the collection--arranged alphabetically and including dates and nationalities where known--is also provided; composers who are not otherwise represented in OCLC's WorldCat or the RLG Union Catalog are indicated by asterisks. The selected bibliography and composer listing give a broad, but incomplete, picture of the overall contents of the Ricardo Vines's Piano Music Collection and the legacy that it represents. Full cataloging records of the more than eight hundred works and editions in the collection are accessible in the University of Colorado at Boulder's online catalog ( with the local subject heading "Vines Collection."


* = No holdings other than the University of Colorado's Howard B. Waltz Music Library are reported in OCLC's WorldCat and the RLG Union Catalog.

All markings are in Vines's hand unless otherwise indicated.

Albeniz, Isaac. Iberia: 12 nouvelles "impressions" en quatre cahiers. (2e cahier). Paris: Edition de la Schola Cantorum, 1907. Pub. no. E. 3084 M.; CU call no. M24.A32 I22 v.2, c.2. Volume 2 only. Contains fingerings. Order of pieces later changed: in this volume the order is Triana--Almeria--Rondena. The standard (later) ordering is Rondena--Almeria--Triana. Vines performed these pieces singly at three concerts presented by the Societe Nationale in Paris: "Triana," 14 January 1911 (Duchesneau, 271); "Rondena." 10 January 1914 (Duchesneau, 275); "Almeria," 14 January 1922 (Duchesneau, 281).

______. L'automne: Valse. op. 170. Barcelona: J. B. Pujol, [1890?]. Pub. no. P. 4. Ca.; CU call no. M32.A42 A8. Vines most likely purchased this volume before his departure from Barcelona in 1887.

Allende, Pedro Humberto. Deux preludes: Pour piano. Paris: M. Senart, 1928. Pub. no. E. M. S. 7781; CU call no. M25.A457 P7 c. l. Contains fingerings.

______. 4 etudes: Pour piano. Paris: M. Senart, 1929. Pub. no. E. M. S. 7780; CU call no. M25.A457 E8. Contains fingerings. The etudes include other notations pertaining to programming choices (the word "no" is written at the top of the first two, for example).

______. Miniatures grecques: Pour piano. Paris: M. Senart, 1928. Pub. no. E. M. S. 7782; CU call no. M25.A457 M5 c.2. Premiered by Vines at a concert of the Societe Nationale on 20 April 1929 (Duchesneau, 290).

Aubert, Louis. Deux pieces en forme de mazurka: Pour le piano, op. 12. 2 vols. Paris: A. Durand, 1907. Pub. nos. D. & F. 6960-D. & F. 6961; CU call no. M25.A83 P5. Contains fingerings, corrections, memory aids, and timing in Vines's hand.

______. Sillages ...: Trois pieces pour piano. Paris: A. Durand, 1913. Pub. nos. D. & F. 8668-D. & F. 8670; CU call no. M25.A83 S5. Includes corrections and interpretive markings that would have most likely (given their nature, including changing of printed metrical indications and added tempo markings and dynamics) reflected Vines's work with the composer.

Balakirey, Mily Aleksey. 2eme scherzo, b moll: Pour le piano. Leipzig: J. H. Zimmermann, [1900?]. Pub. no. Z. 3275; CU call no. M25.B183 S3 no.2. Vines performed this work at a Societe Nationale concert on 10 January 1903 (Duchesneau, 263).

______. 7eme mazurka: Pour le piano. Leipzig: J. H. Zimmerman, 1906. Pub. no. Z. 4468; CU call no. M32.B34 M3 n. 7. Bears printed dedication to M. D. Calvocoressi.

______. Capriccio: Pour le piano. Leipzig: J. H. Zimmermann, [1902?]. Pub. no. Z. 3679; CU call no. M25.B183 C3. Contains fingerings.

______. Concerto. Leipzig: J. H. Zimmerman, 1911. Pub. no. Z. 5021; CU call no. M1011.B18 C6. Extensively fingered in Vines's hand, markings in blue and black pencils.

*Beriot, Charles-Wilfrid. 1er concerto pour le piano, op. 40. Paris: J. Hamelle, [1885?]. Pub. no. J. 2181. H.; CU call no. M1011.B47 op. 40. Includes numerous handwritten markings, some in Spanish, some intended to facilitate performance as piano solo. The scores listed here represent only a fraction of the collection's holdings of Vines's teacher Beriot's works.

*______. IIe concerto pour le piano, op. 46. Paris: J. Hamelle, [1892?]. Pub. no. Pr. J. J. M. (copy 2: J. 3456 H.); CU call no. M1011.B47 op. 46 H3a (2 copies).

*______. 2e concerto pour piano, op. 46. Paris: J. Hamelle, [1892?]. Pub. no. J. 3456. H.; CU call no. M1011.B47 op. 46 H3b.

*______. 3eme concerto pour piano, op. 71. Paris: J. Hamelle, [1902?]. Pub. no. J. 4723. H.; CU call no. M1011.B47 op. 71.

*______. 4 morceaux a rythmes rompus: Pour piano, op. 56. 4 vols. Paris: J. Hamelle, [1885?]. Pub. nos. J. 2139.1 H.-J. 2142.4 H.; CU call no. M24.B512 M6. Contents: Prelude--Scherzo--Cantabile--Allegro vivace.

*______. A la Espagnola: Bolero pour piano, op. 60. Paris: J. Hamelle, [1890-91?]. Pub. no. J. 3021 H.; CU call no. M25.B4764 A31.

*______. Allegretto pour piano, op. 35. Paris: J. Hamelle, [1887-88?]. Pub. no. J. 2783 H.; CU call no. M25.B4764 A32. Autographed by Vines on cover.

*______. Mecanisme et style: Le vade-mecum du pianiste, op. 66. 1re partie, mecanisme. Paris: J. Hamelle, [1890?]. Pub. no. J.2987 H.; CU call no. M225.B47 M4.

*______. Sonata pour deux pianos, op. 61. Paris: J. Hamelle, [1893?]. Pub. no. J. 3510 H.; CU call no. M214.B466 op. 61.

*______. Valse mignonne (5me valse) pour piano, op. 29. Paris: J. Hamelle, [1892]. Pub. no. J. 3479 H.; CU call no. M32.B47 op. 29.

Blumenthal, Jacques. La source: Caprice pour le piano, op. 1. Naples: Clausetti, [1886?]. Pub. no. D. 2748 D.; CU call no. M25.B593 S6. Dated "1886" in pencil on title page. Contains fingerings and X's (Vines's typical way of indicating a place that needed work or was a memory problem).

*Bonheur, Raymond. Sur trois marches de marbre rose. Paris: Rouart, Lerolle & Cie., 1923. Pub. nos. R. L. 11327 & Cie.-R. L. 11330 & Cie.; CU call no. M25.B65 S9. Contents: Sous la voute des grands arbres--Le soleil rit dans l'eau des vasques--L'escalier de marbre--L'echo s'anime. Inscribed to Vines by the composer on title page. Vines premiered this piece two years before publication. on 21 May 1921, at the old Conservatory (Duchesneau, 444). Also on the program was a three-pianist performance of Falla's Nights in the Gardens of Spain, with Vines as soloist and Grovlez and Samazeuilh playing the two-player reduction of the orchestration.

Bordes, Charles. Quatre fantaisies rythmiques. Paris: Rouart, Lerolle & Cie., [1908?]. Pub. no. R. L. 10952 & Cie.; CU call no. M25.B67 F3. Contains markings and timings.

*Borodin, Aleksandr. Chanson de la foret sombre: Pour chant avec acct. de piano. Traduit du Russe par M. D. Calvocoressi. Paris: A. Leduc, [1908?]. Pub. no. A. L. 13, 985; CU call no. M1621.B67 C3. Borodin's text has been translated by M. D. Calvocoressi in this edition. The handwritten inscription on the front cover is in Russian, in Cyrillic script; and is in fact a dedication from Calvocoressi to Ricardo Vines (whose name has also been transliterated into Cyrillic). A treasure (fig. 2).

______. Danse des jeunes filles polovtesiennes: Tiree de l'opera "Le Prince Igor." Reduction par N. Sokolow. Leipzig: M. P. Belaieff, [1889?]. Pub. no. 147; CU call no. M208.5 B6 P7. Typical of the many four-hand arrangements of Russian composers' works read by the young Vines with his good friend Ravel in the 1880s (Gubisch, 180).

______. Serenata alla spagnola du quatuor sur le nom B-la-f: Transcrite pour piano par Theodore Jadoul. Leipzig: M. P. Belaieff, [1888?]. Pub. no. 107; CU call no. M38.B67 S4. Dedicated to the publisher Belaieff, this is a transcription of one movement of a string quartet based on a cipher of his names, the notes B-flat, A and F ("B-la-f"). The complete string quartet was performed at the Societe Nationale on 25 January 1908 (Duchesneau, 350).

*Bringuet-Idiartborde, A. No. 3 de L'hymne a la nuit: Pour piano. Paris: M. Senart, [1923?]. Pub. no. E. M. S. 6238; CU call no. M25.I3 H9. Madame Bringuet-Idiartborde was a mysterious Argentine-born composer resident in France--even her first name seems unobtainable (Berrocal, 196). Her works were included on Vines's programs in South America, including a program in Buenos Aires on 31 October 1930 (Berrocal, 88-89).

*______. Poeme silencieux: Pour piano. Paris: M. Senart, [1924?]. Pub. no. E. M. S. 6505; CU call no. M24.I255 P6. Contents: Notturno--Amore--Dolore--Serenata.

Castelnuovo-Tedesco, Mario. Alghe: Per pianoforte. Florence: Forlevisi, 1920. Pub. no. 10821; CU call no. M25.C385 A5 1920. Inscribed to Vines by the composer on cover.

______. Cipressi: Per pianoforte. Florence: Forlivesi, 1921. Pub. no. 10892; CU call no. M25.C385 C5. Inscribed to Vines by the composer on title page (fig. 3).

______. I naviganti: Per pianoforte. Florence: Forlivesi, 1920. Pub. no. 10822; CU call no. M25.C385 N3 1920. Inscribed to Vines by the composer on caption.

______. Piedigrotta 1924: Rapsodia napoletana per pianoforte. Milano: G. Ricordi, 1925. Pub. no. 119961; CU call no. M24.C335 P5. Contents: Tarantella scura--Notte e luna--Calasciunate--Voce luntant (fenesta che lucive)--Lariula! Vines's performance at the Salle Pleyel on 19 March 1927 was possibly the Paris premiere (Duchesneau, 288). The score is heavily marked.

______. Questo fu il carro della morte: Per pianoforte. Florence: Forlivesi, 1916. Pub. no. 10598; CU call no. M25.C385 Q8. Inscribed to Vines by the composer on title page.

______. Il raggio verde: Per pianoforte. Florence: Forlivesi, 1918. Pub. no. 10750; CU call no. M25.C385 R3 1918. Inscribed to Vines by the composer on title page. Contains fingerings.

Castillon, Alexis, Vicomte de. Six valses humoristiques: Pour piano, op. 11. Paris: A. Durand & Fils, [1871?]. Pub. no. D. S. & Cie. 1343; CU call no. M32.C375 V3 c.2.

______. 2me suite pour le piano, op. 10. Paris: Heugel, [1872?]. Pub. no. G. H. 442; CU call no. M24.C34 op.10. Contains fingerings in Vines's hand. His diary entry from 15 December 1900 mentions that he read "Bach, Castillon, and Alkan" with his friend Duparc (Gubisch, 240).

Cervantes, Ignacio. Danzas: Ia coleccion. Havana: A. Lopez, [1875-95?]. CU call no. M30.C47.

______. Gran potpourri: Aires nacionales. Havana: A. Lopez, 1884. CU call no. M34.C47 G7.

Chabrier, Emmanuel. 1er impromptu pour piano. Paris: G. Hartmann, [1873?]. CU call no. M25.C5 I4. See article for a discussion of Vines's performances of this and other Chabrier works.

______. Cinq morceaux pour piano. 5 vols. Paris: Enoch, 1897. Pub. no. E. & C. 3297; CU call no. M25.C5 M6. Contents: Aubade--Ballabile--Caprice--Feuillet d'album--Ronde champetre. Vines performed the "Feuillet d'album" from this set at the Salle Erard in 1928.

______. Dix pieces pittoresques: Pour piano. Paris: Enoch, [1881?]. Pub. no. E. F. & C. 511; CU call no. M24.C41 P5. Contents: Paysage--Melancolie--Tourbillon--Sous bois--Mauresque--Idylle--Danse villageoise--Improvisation--Menuet pompeux--Scherzovalse. Vines performed the "Melancolie" and "Scherzovalse" from this set at the Salle Erard in 1928.

______. Espana: Rapsodie pour orchestre. Transcription pour 2 pianos par l'auteur. Paris, Enoch, [1883-84?]. Pub. nos. E. F. & C. 893 and E. F. & C. 896; CU call no. M215.C43 E8.

______. Impromptu pour piano. Paris: Enoch, [1937?]. Pub. no. E. & C. 7941; CU call no. M25.C5 I4a. This is the same work as the 1er impromptu pour piano.

______. Trois valses romantiques: Pour deux pianos. Paris: Enoch, 1921. Pub. no. E. & C. 7883; CU call no. M38.C41 V3. This is an arrangement for piano solo of the two-piano Valses romantiques--a work that Ravel and Vines performed for Chabrier at his home in February 1893, shortly before Chabrier's death. (72)

*Chimenti, Armando. Chant du matin. Buenos Aires: J. A. Medina & Hijo, [1920?]. Pub. no. 26494; CU call no. M25.C54 C4. Inscribed to Vines by the composer on caption. Chimenti is one of the Argentine composers whose works were performed by Vines in Europe in the years 1925-29 (Berrocal, 78-79).

*______. Tres impromptus para piano. Buenos Aires: Ortelli, [1920?]. CU call no. M25.C54 I6 (3 copies). Copy 1 is inscribed to Vines by the composer on title page.

*______. Triptico musical. Buenos Aires: Sociedad Argentina de Compositores, [1920?]. Pub. no. 404; CU call no. M24.C45 T7. Contents: Aires montaneses--Nocturno--Serenata espanola. Inscribed to Vines by the composer on title page.

Cluzeau-Mortet, Luis. Visiones camperas: Piano solo. Montevideo: R. Marotti, [1931?]. CU call no. M25.C648 V5. Contents: Anocheciendo--Junto al fogon--Milonga. Dedicated to Vines and signed by the composer on title page. Contains fingerings. Premiered by Vines in Montevideo. Uruguay, on 21 November 1931 (Berrocal, 97).

*Curubeto Godoy, Maria Isabel. Carnavalesca: Para piano (1921). [Buenos Aires]: G. Ricordi, 1925. CU call no. M25.G64 C3. Inscribed to Vines by the composer on title page.

*______. Dos nocturnos para piano. [Buenos Aires]: G. Ricordi, 1927. CU call no. M25.G64 N6. The first Nocturne contains a few fingerings in Vines's hand. The work was in his South American repertoire.

Czibulka, Alphons. Gavotte Stephanie. Brussels: Schott Freres, [1880-81?]. Pub. no. S. F. 3005; CU call no. M25.C95 G3. Typical of the salon music that Vines might have played (for money) in Paris during his student years.

*De Blanck, Hubert. Hymne a Jose Marti pour deux pianos. Paris: F. Durdilly, 1905. Pub. no. F. 5611. D.; CU call no. M214.B43 H9. Includes metronome marks in ink on pp. 1 and 15. Vines's apparent interest in Cuban nationalism was perhaps related to his reported fascination with and abhorrence of the Spanish-American War.

Debussy, Claude.... D'un cahier d'esquisses: Pour piano. Brussels: Schott Freres, 1904. Pub. no. S. F. 5104; CU call no. M25.D438 D8 (2 copies).

______. Iberia: "Images" pour orchestre, no. 2. Transcription pour 2 piano 4 mains par Andre Caplet. Paris: A. Durand, 1910. Pub. no. D. & F. 7706; CU call no. M215.D42 I44. Score II has markings in purple in the first piano part on pp. 21 and 26.

*______. Pelleas et Melissande: Drame lyrique, Acte III, scene I. [Paris]: Monde Musical, 1902. Pub. no. M. M. 53; CU call no. M1508.D42 P4. Vocal score. A supplement to Le monde musical from 15 May 1902. Vines clipped and kept many of these supplements, judging from the number of them in the collection. This one dates from the period when Les Apaches faithfully attended every performance of the opera, which premiered 30 April 1902 (Orenstein, 37).

Delage, Maurice. Schumann ...: Pour piano. Paris: A. Durand & Fils, 1921. E. & F. 10027; CU call no. M25.D442 S3. Contains some fingerings as well as Vines's trademark "X" in several spots. Delage was one of Les Apaches; a student of Ravel, he was actually of the same generation as Ravel and Vines.

Diverses pieces et variations: Pour piano sur un theme oblige. Paris: E. Demets, 1910. Pub. nos. E. 1487 D.-E. 1491 D.; CU call no. M21.A2 D5. Contents: Introduction, 12 variations et fugue / Swan Hennessy--8 variations / Hugo Rasch--2 variations: Bebe s'endort; Bebe s'eveille / Georges Loth--Mazurka / Auguste Delacroix--Variations / Herbert Fryer.

*Dubois, Theodore. Poemes sylvestres: Pour piano. Paris: Heugel, 1893. vols. 2 and 5 (of 6). Pub. nos. H. & Cie. 9482 (2) (vol. 2), H. & Cie. 9485 (5) (vol. 5); CU call no. M24.D83 P6. Contents: Les myrtilles--La source enchantee. Volume 2 signed by Vines in pencil on title page. "Les myrtilles," vol. 2 from this collection, figured on Vines's 1895 debut program. This was most likely the copy from which he learned the piece (includes fingerings). Typical for the maturing Vines, he has mostly indicated his fingerings in the slower music rather than in the more "technical" fast sections.

*______. Sonate pour piano. Paris: Heugel, 1908. Pub. no. H. & Cie. 23,668; CU call no. M23.D93 S6. Inscribed to Vines on the title page by the composer; otherwise clean. By 1908, the scandal of Ravel's Prix-de-Rome failure had toppled Dubois from his position as head of the Paris Conservatoire, and one questions why Vines would bother performing Dubois's music after his fall from power.

Duboscq. Claude. Matines, sarabandes, et gaillardes: Pour piano. Paris: M. Senart, 1923. Pub. no. E. M. S. 6097; CU call no. M25.D77 M3. Inscribed to Vines by the composer on p. [2]. A quite peculiar set of pieces by this obscure composer. The composer's preface suggests extracting suites of three pieces (one each of the "matines," "sarabandes," and "gaillardes" of the title) for performance. Evidently, Vines did just that as his markings are to be found in only one set of three (pp. 10-11, 16-18, 26-29). The composer, evidently an ultraconservative Catholic, wrote a full-page inscription in this copy celebrating his and Vines's religious sympathies.

Dupin, Paul. Le beau jardin: Piano a 4 mains. Paris: P. Dupin. 1912; CU call no. M203.D86 B4. Contents: La pelouse aux marronniers--La piece d'eau aux petits poissons rouges--Aubade au poulailler--D'ou l'on voit la vieille eglise. Inscribed to Vines by the composer on title page.

*______. Trois esquisses fuguees: Pour le piano. 6 vols. Paris: A. Durand & Fils, 1913-14. Pub. nos. D. & F. 8812-8814 (vols. 1-3) and D. & F. 9093-D. & F. 9095 (vols. 4-6); CU call no. M25.D85 E8. Vols. 1-4 inscribed to Vines by the composer on title page; vols. 4-6 dedicated to Vines.

*Dupont, Auguste. Chanson hongroise: Melodie originale pour piano, op. 27. Mainz: B. Schott's Sohne, [1856-59?]. Pub. no. 14210; CU call no. M25.D87 C4. More salon music from the pianist's early (pre-Paris in this case) youth.

Falla, Manuel de. Pieces espagnoles: Pour piano. Paris: A. Durand, 1909. Pub. no. D. & F. 7217; CU call no. M25.F34 P5. A work premiered by Vines. The Vines Collection copy is no longer extant.

Faure, Gabriel. 3eme barcarolle: Pour piano, op. 42. Paris: J. Hamelle, [189-?]. Pub. no. J. 2500 H.; CU call no. M25.F38 B3 no.3. Contains many fingerings. This may be one of the scores referred to in Vines's diary entry for 5 December 1899: "I also bought two pieces by Faure, another poet of lunar music" (Gubisch, 221).

______. 3eme valse-caprice: Pour piano, op. 59. Paris: J. Hamelle, [1906?]. Pub. no. J. 3666 H.; CU call no. M32.F38 V3 op.59.

______. Theme et variations, op. 73. Paris: J. Hamelle, [1897?]. Pub. no. J. 4071 H.; CU call no. M27.F3 op.73. Contains extensive markings, including changes in indicated tempos, added notes (octaves in bass), etc. He performed the work for the Societe Nationale on 5 April 1902 (Duchesneau, 262). The extent of the markings in this score suggest that it was the copy from which Vines learned the work.

*Fevrier, Henry. 1er nocturne: Fa# majeur. Paris: H. Gregh, 1905. Pub. no. H. G. 1283; CU call no. M25.F49 N6. Dedicated to Vines who, typically, underlined his name on the title page in blue crayon, even going so far in this case to add the missing tilde over the "n" in the same crayon. Contains interpretive markings, fingerings, and timing in Vines's hand; probably the copy from which he learned the piece for the premiere for the Societe Nationale on 17 March 1906 (Duchesneau, 266).

*______. Intermezzo: Pour piano. Paris: A. Leduc, 1907. Pub. no. A. L. 13,697; CU call no. M25.F49 I8. Contains fingerings in blue and black pencil. Vines premiered the work for the Societe Nationale on 5 March 1910 (Duchesneau, 270).

Forte, Vicente. La conquista: Poema coreografico para solos, coros y orquesta. Danza de la hoguera. Transcripcion para piano solo, por el autor. [Buenos Aires: A. Beltrame, 1932?]. CU call no. M34.F67 C6 (2 copies). Copy 1 inscribed to Vines by the composer on the title page verso. Forte is among the Argentine composers whose music Vines performed in Europe in the years 1925-29 (Berrocal, 78-79).

______. La conquista: Poema coreografico para solos, coros y orquesta. La ofrenda mistica de las flores. Transcripcion para piano solo, por el autor. [Buenos Aires: A. Beltrame, 1932?]. CU call no. M34.F67 C61.

Franck, Cesar. Les djinns: Poeme symphonique pour piano et orchestre. Paris: Enoch, [1886?]. Pub. no. E. F. & C. 1149; CU call no. M1011.F75 D5 c. 1. Contains fingerings in 2d piano, part 1, pp. 10-12, 28-31.

______. Les eolides: Poeme symphonique. Transcrit pour 2 pianos a 4 mains par Cesar Franck. Paris: Enoch, [1883?]. Pub. no. E. F. & C. 821; CU call no. M215.F73 E5. Vines wrote in his diary of reading this work with Ravel on 17 September 1897 (Gubisch, 192).

______. Prelude, aria et finale: Pour piano. Paris: J. Hamelle, [1888?]. Pub. no. J. 2852 H.; CU call no. M25.F73 P72 c.2. Contains fingerings in blue.

Franco-Mendes, Hans. 3e etude voor piano. Amsterdam: G. Alsbach, [1926?]. Pub. no. G. A. & Co. 3666; CU call no. M25.M44 E8 no.3. The Dutch composer Franco-Mendes is well-represented in the Vines Collection.

______. 3e sonatine voor piano. Amsterdam: G. Alsbach, [1927?]. Pub. no. G. A. & Co. 3698; CU call no. M23.M5 S6 n. 3.

*______. Etude voor piano. Amsterdam: G. Alsbach, [ca. 1920?]. Pub. no. G. A. & Co. 2664; CU call no. M25.M44 E8.

______. Sonatine quasi una fantasia. Amsterdam: G. Alsbach, [ca. 1925?]. Pub. no. G. A. & Co. 3533; CU call no. M23.M5 S6.

______. Uit mijn dagboek: Voor piano. Vols. 3-5. Amsterdam: G. Alsbach, [ca. 1925?]. Pub. nos. G. A. & Co. 3532 (vol. 3), 3544 (vol. 4), 3644 (vol. 5); CU call no. M25.M44 U3. Contents: 1. A la valse; Preludietto; Quasi serioso; Alla marcia; Pauks; Etude--2. Handel; For the left hand; Guillaume; Menuet; Silhouet; Moment musical--3. Preludium; Valse lente; Air; Kringiade; Nocturne; Aufschwung--4. Piccola sonata; Danza; Fantasia; Venezia: Notte sul Canal Grande; Lungo il ponte; Piazza di S. Marco--5. Suite: Presto; Allegretto; Allegro ma non troppo; 3 intermezzi.

*Gaito, Constantino. Suite orchestrale, op. 17. Riduzione dell'autore per pianoforte. [Buenos Aires?: n.p., ca. 1908?]. CU call no. M24.G15 S8. Contents: Paesaggio--Visione--Corteo funebre--Giorno di festa. Contains a pencil correction at the bottom of p. 2. Argentine composer Gaito's works figured in Vines's South American programs (Berrocal, 210).

Gedalge, Andre. Concerto pour piano, op. 16. Reduction de l'orchestre pour un 2e piano par Henri Falcke. Paris: Enoch, 1899. Pub. no. E. & C. 4380; CU call no. M1011.G44 op. 16. Gedalge was Ravel's counterpoint teacher at the Paris Conservatoire, and had a strong influence on many French composers, including Enesco, Koechlin, Roger-Ducasse. Milhaud and Honegger.

*Ghys, Henry. "A l'aventure": Vingt pieces pour le piano. Paris: A. Leduc, [1904?]. Pub. no. A. L. 6830; CU call no. M24.G52 A4. Contents: En chemin--Une source--Ciel noir--Pluie furieuse--Le beau temps renait--Feux follets--La joyeuse auberge--Insomnie--Madrigal--Au bord du torrent--Sous bois--Un moulin--La fenaison--Sieste--Songe--Indolence--La bete poursuivie--Crepuscule--Echos du chateau--Retour. Inscribed to Vines by the composer on table of contents. Contains corrections written in by hand, including changes in the titles of individual pieces in the set.

*Godebski, Franz. Nocturne: Pour piano. Paris: J. Hamelle, [1898?]. Pub. no. J. 4187. H.; CU call no. M25.G623 N6. Inscribed to Vines by the composer on title page. Vines premiered this work at the Salle Pleyel on 13 April 1901 (Duchesneau, 294).

Gomez Carrillo, Manuel. El mistolero: Gato santiagueno para piano. Buenos Aires: G. Ricordi, [1924?]. Pub. no. B. A. 6099; CU call no. M25.G66 M5. Dedicated to Vines. This was a particular favorite, and Vines programmed it frequently. The composer was a native of provincial northern Argentina, and based his music on traditional dances of the region (Berrocal, 210, passim).

*Goremyka, Iwan [pseud.]. La concierge est dans l'escalier: Phantasiette pour piano a sept octaves, avec fugue, leitmotif, polymodalite, polytonalite. Paris: Edition Mutuelle, [1913-19?]. Pub. no. E. 7156 M.; CU call no. M25.G67 C6. A marvelous curiosity. The composer's name is evidently a pseudonym; the publisher has included a note that concocts an unlikely story of political repression and Siberian exile. The piece itself is a series of Satie-esque vignettes with descriptive texts that tell the story of a visitor to an apartment building who fails to find anyone at home.

*Grovlez, Gabriel. Burlesque pour piano. Paris: L. Rouhier, [1898-1901?]. Pub. no. L. R. 81; CU call no. M25.G77 B8. Inscribed to Vines by the composer on title page. Grovlez and Vines were friends beginning in the 1890s. On 4 February 1899, they performed an arrangement for two pianos of Cesar Franck's Trois chorals (Gubisch, 196).

______. Improvisations sur Londres (London Voluntaries): Pour piano. London: Augener, 1910. Pub. nos. 14097-14099; CU call no. M25.G77 I8. Inscribed to Vines by the composer on title page.

______. Trois pieces pour le piano. Paris: A. Durand & Fils, 1914. Pub. nos. D. & F. 9047-D. & F. 9049; CU call no. M25.G77 P5 1914. Contents: Evocation--Barcarolle--Scherzo. Of particular interest, with a strong Spanish flavor.

Harsanyi, Tibor. Six pieces courtes: Pour piano. Paris: Heugel, 1927. Pub. no. H. 29,664; CU call no. M25.H378 P5. Inscribed to Vines by the composer on title page. The Hungarian Harsanyi lived in Paris in the 1920s and is associated with Martinu, among other Eastern European composers in the city at the time. The Vines Collection includes a large number of his solo piano works, although all of the scores are so clean that it is hard to imagine that they were ever used. The composer autograph on Six pieces courtes at least shows that Harsanyi was interested in Vines.

Herberigs, Robert. Poemes elegiaques: Pour piano. Gand, [Belgium]: P. Struyf, [1921?]. Pub. no. P. 868 S.; CU call no. M25.H44 P6. Includes corrections in blue pencil; more evidence of Vines's interest in his contemporaries in countries like Belgium with relatively unsung musical traditions.

______. Trois ballades pour piano. Gand, [Belgium]: P. Struyf, [1924?]. Pub. no. P. 872 S.; CU call no. M25.H44 B3. Inscribed to Vines by the composer on title page.

Herscher-Clement, Jeanne. "Concertino: Version red. de l'orchestre" [ca. 1910?]. CU call no. M1011.H36 C5 1900. Manuscript score.

Ifukube, Akira. Bon odori: Piano solo. Tokyo: A. Ryuginsha, 1936. Pub. no. A 26 T; CU call no. M24.I27 B6. Inscribed to Vines by the composer on p. [2] of cover, with the composer's address in Japan.

*Imbert, Maurice. Des dryades jouent dans un rayon de lune. Paris: B. Roudanez, [1922?]. Pub. no. B. 108 R.; CU call no. M25.I42 D7.

*______. Journal de vacances: Pour piano. Paris: M. Senart, [1929?]. Pub. no. E. M. S. 7936; CU call no. M24.I42 J6. Contents: Sur le chemin des bleuets--L'inutile peine--Col de portes--Chapelle de pouine--Matin de quinze Aout--Retour de fete--Catastrophe passagere--Aux morts des champs.

*______. Scherzo dans le sentiment des chansons vetustes: Pour piano et violoncelle. Paris: Courrier Musical, 1922. CU call no. M233.I42 S3. A supplement to Le courrier musical from 1 February 1922.

Indy, Vincent d'. Helvetia: 3 valses pour piano, op. 17. Vols. 2-3. Paris: J. Hamelle, [1885?]. Pub. nos. J. 2150-J. 2152; CU call no. M32.I53 H4. Contents: Aarau--Schinznach--Laufenburg. Contains markings.

______. Schumanniana: Trois chants sans paroles pour piano, op. 30. Paris: J. Hamelle, [1889?]. Pub. no. J. 2846 H.; CU call no. M25.I53 S3. The first contains detailed fingerings, showing substitutions in order to achieve legato in all voices of the texture.

______. Treize pieces breves: Pour piano, op. 68. Geneva: Henn, 1916. Pub. no. A. 51 H.; CU call no. M25.I53 op. 68. Contents: Cadenza--Burlesca--En automne. Includes timing on p. 23, "4 minutes [:] les trois pieces nos 6, 7, et, 13." Typical for his time, Vines was clearly not averse to extracting odd movements from collections for performance.

Inghelbrecht, Desire Emile. Paysages: Pour piano. London: J. & W. Chester, 1920. Pub. no. J. W. C. 2072; CU call no. M24.I53 P3. Contents: Courdimanche a l'horizon--La lune sur la plaine--Le reveil de la ferme--Une croix sur le chemin--Le parterre ensoleille. Does not have Vines's stamp but does have a typical marking in blue crayon on the cover.

*Jemain, J. Aspirations. Vols. 1-2. Lyon: Janin Freres, [1901-2?]. Pub. nos. J. F. 548 (vol. 1), J. F. 638 (vol. 2); CU call no. M24.J45 A8. v.1-2. Contents: Vers les sources, op. 19, no. 2--Vers l'amour, op. 19, no. 2. Vol. 1 inscribed to Vines by the composer on title page. Vol. 2 inscribed to Vines by the composer on caption, and dedicated to Vines as well. Vines premiered the two Aspirations at the Salle Pleyel on 13 January 1900 (Duchesneau, 279). Since the premiere took place before the date of publication, these scores have no markings other than the composer's inscriptions. Evidently Vines learned the pieces from manuscript.

Ketterer, Eugene. Fleur de bruyere: Morceau de salon pour piano, op. 77. Paris: A. Grus, [1860?]. Pub. no. A. G. 2180; CU call no. M25.K47 op.77. Likely purchased in Barcelona before 1885. This music is typical of the salon pieces that Vines learned in his early years.

Labey, Marcel. Sonate: Pour piano. Paris: E. Demets, [1900?]. Pub. no. E. 646 D.; CU call no. M23.L14 S61. Inscribed to Vines by the composer on title page. Vines premiered this work at the Salle Erard on 24 February 1900 (Duchesneau, 282). This signed score is clean; evidently it was a presentation copy given to Vines in October following the premiere.

Ladmirault, Paul. 4 esquisses: Pour piano. 4 vols. Paris: E. Demets, 1909. Pub. nos. E. 1443 D.-E. 1446 D.; CU call no. M25.L32 E81 v.1-4. Contents: Chemin creux--Valse melancolique--Vers l'eglise dans le soir--Minuit dans les clairieres. The Breton composer Paul Ladmirault was a friend and fellow student of Ravel in Faure's class. Clearly, from the presence of these scores (all gifts, evidently) in Vines's library, they were also friends. Vines's diary entry for 5 December 1903 includes mention of a visit from Ravel who "came to dine and to rehearse a work by Ladmirault for four hands" (Gubisch, 201). All of the items in the collection were published several years later.

______. Rhapsodie gaelique en 6 parties: Pour piano a 4 mains. Paris: O. Bouwens van der Boijen, 1909. Pub. no. O. B. & Cie. 91; CU call no. M204 L33 R4. Contents: Les Campbells arrivent--Danse des fees--Nocturne--Limerick-Pibroch--Chanson ecossaise des basses-terres--Fantaisie sur une contredanse populaire.

*______. Suite Bretonne (airs de ballet): Extraite de l'opera "Myrdhin." Reduction par l'auteur pour piano a 4 mains et pour 2 pianos a 4 mains. 5 vols. Paris: A. Rouart, 1908. Pub. nos. A. R. & Cie. 4606-A. R. & Cie. 4610; CU call no. M215 L33 S8 v. 1-5.

______. Variations sur des airs de Biniou trecorois: Pour piano a 4 mains. Paris: E. Demets, 1906. Pub. no. E. 1234 D.; CU call no. M204 L33 V3.

Leschetizky, Theodor. Intermezzo en octaves, op. 44, no. 4. Berlin: E. Bote & G. Bock, 1897. Pub. no. 14586; CU call no. M25.L46 op. 44, no. 4. There is evidence that Vines studied both this work and the one following, as they contain some fingerings and other typical markings.

______. Souvenirs d'Italie: Suite de morceaux pour piano, op. 39. No. 4. Mandolinata. Berlin: E. Bote & G. Bock, [1890?]. Pub. no. 13425; CU call no. M25.L46 op. 39, no. 4. Contents: Barcarola (Venezia)--Le lucciole (Como)--Canzonetta Toscana all'antica (Firenze)--Manolinata (Roma)--Tarantella (Napoli)--Siciliana (Catania).

Lourie, Arthur Vincent. Gigue. Paris: Rouart, Lerolle & Cie, [1928?]. Pub. no. R. L. 11646 & Cie.; CU call no. M31.L68 G5. Inscribed to Vines by the composer on title page.

______. Marche: Pour le piano. Paris: Rouart, Lerolle & Cie., [1927?]. Pub. no. R. L. 11621 & Cie.; CU call no. M28.L68 M3. Contains fingerings.

Lyapunov, Sergey. Concerto, op. 4: Partition pour deux pianos. Berlin: E. Bote & G. Bock, [1892?]. Pub. no. 13647; CU call no. M1011.L69 op. 4 (2 copies). Contains corrections in red ink (pp. 5, 8, 9), an unusual medium for Vines. Nonetheless, given his acquaintance with the composer (note the dedication of the next entry), these corrections most likely come from Lyapunov. Also contains a few fingerings and penciled dynamic markings on p. 7.

*______. Deux morceaux de l'opera Rousslan et Ludmila de M. Glinka: Parafrases, op. 33, no. 2. Combat et mort de Tschernomor. Leipzig: J. H. Zimmerman, 1908. Pub. no. Z. 4656; CU call no. M34.L53 op. 33. Dedicated to Vines.

______. Etude II: Ronde des fantomes, dis moll [D. sharp minor] pour le piano, op. 11, no. 2. Leipzig: J. H. Zimmermann, [ca. 1900?]. Pub. no. Z. 3068; CU call no. M25.L53 op.11, Z5. Contains fingerings.

*______. Nocturne pour piano, op. 8. Leipzig: Breitkopf & Hartel, 1898. Pub. no. Klav. Bibl. 22583; CU call no. M25.L53 op. 8. Inscribed to Vines by the composer on p. [3].

______. Second concerto pour piano et orchestre, op. 38. Reduction pour deux pianos. Leipzig: J. H. Zimmerman, 1910. Pub. no. Z. 4815; CU call no. M1011 L69 op. 38.

*Machado, Alberto Jose. Momentos para piano. Buenos Aires: Sociedad Nacional de Musica, [ca. 1930?]. Pub. no. S. N. M. 21; CU call no. M24.M16 M6. Contents: Chant d'amour--La serenade joyeuse--Reverie--En gambadant--La priere--Danse. Contains markings in the first piece in blue and black pencil, including changes most probably given by the composer. Machado is another Argentine composer whose music was in Vines's repertoire (Berrocal, 210).

Magnard, Alberic. Promenades: Pieces pour le piano. Paris: A. Durand & Fils, [1894?]. Pub. no. D. & F. 4742; CU call no. M24.M214 P7 (2 copies). Contents: Envoi--Bois de Boulogne--Villebon--St. Cloud--St. Germain--Trianon--Rambouillet. "Rambouillet" and "St. Cloud" contain Vines's markings (copy 2).

Malipiero, Gian Francesco. Pasqua di resurrezione. Paris: Rouart, Lerolle & Cie., 1924. Pub. no. R. L. 11508 & Cie.; CU call no. M25.M34 P3. Does not have Vines's stamp.

*Marques Puig, Antonio. D'apres nature: 7 pieces pour le piano. 7 vols. Paris: P. Schneider, 1929. Pub. nos. E. M. M. 192-E. M. M. 198; CU call no. M24.M38 D3. Contents: Le vent--La fontaine--La pluie--La nuit--La tempete--Le ruisseau et l'oiseau--La mer. Dedicated to Vines. First piece contains the composer's address handwritten at bottom: "Avenida Jose Antonio 696 = 2o (antes Cortes)."

Mendelssohn, Felix. Scherzo du songe d'une nuit d'ete. Transcrit pour piano seul par Theodore Ritter. Paris: Brandus, [1877-78?]. Pub. no. B. & Cie. 12.365: CU call no. M35.M53 S6. Contains fingerings and corrections. This work was on Vines's debut program.

*Monnikendam, Marius. Six inventions a deux voix: Pour piano. Paris: M. Senart, [1928?]. Pub. no. E. M. S. 8000; CU call no. M25.M64 15. This work by the Dutch composer is dedicated to Vines and contains fingerings in pencil.

Moreau, Leon. Barcarolle. Paris: H. Gregh, 1904. Pub. no. H. G. 1285; CU call no. M25.M667 B3. Inscribed to Vines by the composer on caption.

*______. Deux pieces pour le piano. 2 vols. Paris: Pfister, [1900-1901?]. Pub. nos. P. F. 51-P. F. 52; CU call no. M25.M667 P5. Contents: Dans la nuit. op. 27--Nocturne, op. 25. "Dans la nuit" contains fingerings.

*______. Impromptu pour piano, op. 35. Paris: Pfister, [1902 or 1903?]. Pub. no. P. F. 108; CU call no. M25.M667 14. Inscribed to Vines by the publisher on title page.

Moszkowski, Moritz. Barcarole und Tarantelle: Fur Pianoforte, op. 27, no. 2. Tarantelle. Breslau: J. Hainauer, [1880-82?]. Pub. no. J. 2389 H.; CU call no. M30.M68 T3. Contains many fingerings. This work was on Vines's debut program.

*Ollone, Max d'. Six etudes de concert pour piano. 6 vols. Paris: Enoch, 1904. Pub. nos. E. & C. 5819-E. & C. 5824; CU call no. M25.O4 E8. The first and second etudes contain fingerings.

*Paque, Desire. Sonate I, op. 68. Berlin: N. Simrock, 1912. Pub. no. 13020; CU call no. M23.P17 op.68. Inscribed to Vines by the composer on caption. The Belgian Paque was a maverick. The works are original and sui generis.

*______. Sonate II, op. 69. Berlin: N. Simrock, 1912. Pub. no. 13021; CU call no. M23.P17 op.69.

*______. Sonate III, op. 70. Berlin: N. Simrock, 1912. Pub. no. 13022; CU call no. M23.P17 op.70. Contains a cut marked in by hand.

*Paur, Emil. La cascade: Morceau de concert pour piano, op. 37. Paris: L. Gregh, [1873-78?]. Pub. no. F. H. 469; CU call no. M25.P39 op.57.

*Perrachio, Luigi. Nove poemetti per pianoforte. 9 vols. Bologna: Pizzi, 1921. Pub. nos. P. 279 & C.-P. 287 & C.; CU call no. M25.P448 P6. Contents: Sera--Zefiro--La notte dei morti--Libellule--Danzatrici a Lesbo--Pioggia--Settecento--Notte--Mare. "Libellule" is inscribed to Vines by the composer.

*Perrin, Edouard. Bucoliques. Paris: J. Robert, 1910. Pub. no. J. R. 223; CU call no. M24.P46 B8. Contents: La paix des champs--Vendemiaire--Clair de lune sur l'etang--Temple dans le bosquet. Inscribed to Vines by the composer on caption.

Poldowski [Lady Irene Dean Paul]. The Hall of Machinery--Wembley, for Pianoforte. London: J. & W. Chester, 1928. Pub. no. J. W. C. 2149; CU call no. M25.P64 H3.

*______. Sonatine for Pianoforte. London: J. & W. Chester, 1928. Pub. no. J. W. C. 2150; CU call no. M23.P7526 S6.

*______. Study for Pianoforte. London: J. & W. Chester, 1928. Pub. no. J. W. C. 2151; CU call no. M25.P64 S8.

*Polignac, Armande de. Berceuse pour piano. Paris: Pfister. [1906?]. Pub. no. P. F. 322; CU call no. M25.P65 B4 (2 copies). Copy 1 is a combination of printed score and manuscript: pp. 2-4 are printed with handwritten emendations; pp. 5-11 have a manuscript pasted over the score--clearly the work of the composer. The piece as given here is utterly different from the printed version of copy 2, which is autographed by the composer on the title page.

*______. Toccata. [Paris]: Revue Musicale, 1904; CU call no. M25.P65 T6. A supplement to La revue musicale from 15 June 1904. The work is dedicated to Vines and contains fingerings in pencil on the score.

*Poueigh, Jean. Pointes seches pour piano (1906). Paris: E. Demets, 1907. Pub. no. E. 1261 D.; CU call no. M25.P675 P6. Contents: Cerfs-volants--Parc d'automne--Combat de coqs. Inscribed to Vines by the composer on cover. Poueigh wrote musical criticism under the name Octave Sere. Vines's premiere of this work is described in unflattering terms in his diary entry for 11 January 1908 (quoted above, p. 376).

Poulenc, Francis. Piece breve sur la nom d'Albert Roussel. Paris: A. Leduc, 1929. Pub. no. A. L. 17,558; CU call no. M25.P68 P51. Does not have Vines's stamp.

Rachmaninoff, Sergey. Prelude, op. 3, no. 2. Leipzig: Bosworth, [1895?]. Pub. no. B. & Co. 622; CU call no. M25.R16 M621. Contains fingerings in blue pencil.

Raff, Joachim. La fileuse: Etude pour piano, op. 157, no. 2. Paris: J. Hamelle, [1881?]. Pub. no. J. 1838 H.; CU call no. M25.R18 op.157 no.2.

______. Impromptu-valse: Pour piano, op. 94. Leipzig: C. F. Peters, [1880?]. Pub. nos. 6857, Edition Peters, no. 1164; CU call no. M32.R34 op.94. Possibly purchased in Barcelona. Contains one fingering on the first page.

Ravel, Maurice. Chanson espagnole. Paris: Monde Musical. 1911. Pub. no. M. M. 291; CU call no. M1621.R38 C511. For voice and piano, from the Sept chants populaires. One of numerous musical supplements, this one from Le monde musical of 30 December 1911. The title is handwritten in Vines's hand in blue on cover.

*______. L'heure espagnole: Introduction. Paris: Monde Musical, 1911. Pub. no. M. M. 277; CU call no. M35 R39 H4. Excerpt from the opera, arranged for piano. Musical supplement from Le monde musical of 30 April 1911.

______. Laideronnette, imperatrice des pagodes. Paris: A. Durand & Fils, 1910. Pub. no. D. & F. 7930; CU call no. M38.R39 M43. Piano solo, arranged from the four-hand suite Ma mere l'oye. Contains fingerings.

______. Sheherazade: Trois poemes de Tristan Klingsor. Paris: A. Durand, 1911. Pub. no. D. & F. 7993; CU call no. M1618.R39 S5 c. 2. Contents: Asie--La flute enchantee--L'indifferent. Does not have Vines's stamp.

______. Valses. L'enfant et les sortileges. Transcription pour piano a deux mains par Lucien Garban. Paris: A. Durand, 1925. Pub. no. D. & F. 10,732; CU call no. M34.R39 E54. Contains fingerings which may be Vines's.

*Reuchsel, Amedee. Triptyques pour piano. No. 1. Hallucinations. Paris: C. Dupuis, [ca. 1913?]. Pub. nos C. D. 366--C. D. 368; CU call no. M25.R47 T71. Contents: Tourbillons d'etoiles--Des fantomes passent ... --Au fond de l'eau. Inscribed to Vines by the composer on cover. Vines's timings are written at the top left of the first page of each of the movements.

Rhene-Baton. Serenade fantasque: Pour piano. Paris: E. Demets, [ca. 1902?]. Pub. no. E. 463. D.; CU call no. M25.B37 S4 (2 copies). Dedicated to Vines.

*Robert, Jean. Mirages: Suite pour piano. 2 vols. Paris: Rouart, Lerolle & Cie., [1921-23]. Pub. nos. R. L. 11170 & Cie., R. L. 11372 & Cie.; CU call no. M24.R62 M5. Contents: 1. Ce que chante le vent; Obsedante reminiscence de la chanson du vent; Avec l'arecoutchic; Eclaircie--2. Debacle; Voce lontana; Plaintes, instances, fievres; En demi-reve; E finita la commedia. Both volumes are inscribed to Vines on title page. "Debacle" is dedicated to Vines.

Roger-Ducasse, Jean (Jules Amable). Six preludes pour piano. Paris: A. Durand, 1908. Pub. no. D. & F. 6995; CU call no. M22.R63 P7 (copies 2-3; copy 1 is not part of the Vines Collection). Copy 3 contains many fingerings in Vines's hand but is missing the last page. Beautiful pieces by a too-seldom heard composer and fellow-student of Ravel.

*Rojoux, Charles. Exercices (transposes): 162e cahier de la technique. Paris: Poulalion, [1924?]. CU call no. MT225.R65 E34 1924. Inscribed to Vines by the composer on cover. On p. 3 is written, in blue, "a travailler" (to work on).

*Rose, Alfred. Danses chassidiques: Pour piano, op. 29. 3 vols. Paris: Editions de Magasin Musical, 1927. Pub. nos. E. M. M. 134-E. M. M. 136; CU call no. M30.R66 D3. Contains extensive fingerings. Although Vines had had strong anti-Dreyfusard sympathies in his youth, he obviously took some care over these specifically Jewish works by a Jewish composer from the late 1920s. (73)

Rosenthal, Manuel. Six caprices pour piano. Paris: Heugel, 1927. Pub. nos. H. 29,537-H. 29,542; CU call no. M25.R669 C3, Contents; Ouverture--Pastorale--Impromptu--Soiree chez le Colonel--Hommage a Debussy--La belle Italienne. Inscribed to Vines by the composer on caption.

Rosenthal, Moriz. Papillons: Pour le piano. Berlin: A. Furstner, 1897. Pub. no. A. 4960 F.; CU call no. M25.R67 P3. Another salon piece, with a few markings in Vines's hand.

Rubinstein, Anton. Quatrieme concerto pour piano avec accompagnement d'orchestre, op. 70. Le piano seul. Paris: A. Leduc, [1886?]. Pub. no. A. L. 7517; CU call no. M1010.R83 op. 70. Contains fingerings as well as bar numbers and orchestral cues written in the solo part.

Saint-Saens, Camille. Deuxieme concerto pour piano avec accompagnement d'orchestre, op. 22: Pour piano principal avec l'accompt d'orchestre reduit pour un 2d. piano. Paris: Durand & Schoenewerk, [1875?]. Pub. no. D. S. & Cie. 2037; CU call no. M1011.S15 op.22. Contains occasional fingerings, some cuts, and what are apparently notes for a solo piano performance with indications of what needs to be added to make it work without orchestra.

______. Quatrieme concerto pour piano, op. 44. Reduction de l'orchestre pour un 2me piano par G. Faure. Paris: Durand-Schoenewerk, [1877?]. Pub. no. D. S. & Cie. 2280; CU call no. M1011.S15 op. 44 D8 c. 1. Includes correction of rhythmic notation in ink on p. 13.

______. Le rouet d'omphale: Poeme symphonique, op. 31. Paris: A. Durand & Fils, [1874?]. Pub. no. D. S. & Cie. 2033; CU call no. M215.S3 R6. Includes notation in ink at top left of cover in Vines's hand "2pos4ms" (two pianos, four hands). Contains markings in the first few pages of the score.

______. Suite: Pour le piano, op. 90. Paris: A. Durand & Fils, 1892. Pub. no. D. & F. 4462; CU call no. M24.S25 op.90. Contents: Prelude--Menuet--Gavotte--Gigue. Includes some fingerings in Vines's hand.

______. Theme varie, op. 97. Paris: A. Durand & Fils, 1894. Pub. no. D. & F. 4824; CU call no. M25.S12 op. 97. Contains Vines's signature on title page. Vines won First Prize at the Paris Conservatoire with a performance of this work. The score includes many markings, some probably in Beriot's hand.

______. Variations pour deux pianos sur un theme de Beethoven, op. 35, a 2 pianos. Paris: A. Durand & Fils, [1874?]. Pub. no. D. & F. 1727; CU call no. M214.S25 V3.

*Sauguet, Henri. Une valse. Paris: J. Jobert, 1928. Pub. no. J. J. 349; CU call no. M32.S38 F4. Inscribed by the composer on title page. Dedicated to Vines.

Schmitt, Florent. Musique de plein air: Suite pour orchestre, op. 44, no. 1-3. Transcription pour piano a 4 mains par l'auteur. Paris: A. Durand & Fils, 1914. Pub. nos. D. & F. 9214-D. & F. 9216; CU call no. M209.S352 op. 44. Does not have Vines's stamp.

______. Nuits romaines, op. 23, no. 1. Le chanson de l'anio. Paris: J. Hamelle, [1904?]. Pub. no. J. 5091.1. H.; CU call no. M25.S245 op. 23 no. 1. Contains fingerings.

______. Reflets d'allegmagne: Valses pour piano a 4 mains, op. 28. Paris: A. Z. Mathot, [1905?]. Pub. no. Z. 55 M.; CU call no. M204.S36 R4. Contents: Heidelberg--Coblentz--Lubeck--Werder--Vienne--Dresde--Nuremberg--Munich.

______. Soirs: 10 preludes pour le piano. Paris: A. Durand & Fils. 1911. Pub. no. D. & F. 5449; CU call no. M25.S245 S6. Contents: En revant--Gaiety--Spleen--Apres l'ete--Parfum exotique--Un soir--Tziganiana--Eglogue--Sur l'onde--Dernieres pages. Includes fingerings in "Un soir" and "Sur l'onde."

______. Trois rapsodies pour 2 pianos 4 mains, op. 53. Paris: A. Durand & Fils. 1909. Pub. no. D. & F. 7424; CU call no. M214.S367 op. 53. Contents: Francaise--Polonaise--Viennoise. Contains many markings in the second part in both scores. In part 1, see pp. 5-12, 31-40; in part 2, pp. 38-39, 49-50. These may be artifacts of different performances of separate movements on various occasions.

Schulhoff, Julius. Sonate [pour] piano, op. 37. Paris: J. Kybourtz. [1886?]. Pub. no. J. K. 413; CU call no. M23.S398 op.37, K9. Contains some fingerings and markings by Beriot in French, written in pencil.

______. Sonate pour piano, op. 37. Paris: E. Gerard, [1886?]. Pub. no. J. M. 3384; CU call no. M23.S398 op.37. Contains Vines's fingerings (in pen) and pedalings (in pencil).

*Soderini, Domingo. Argentina: Suite de concierto para piano. Bueos Aires: G. Ricordi, [1926?]. CU call no. M24.S69 A7. Contents: Danza--La pampa--Mendoza. Inscribed to Vines by the composer on caption.

*______. Tres preludios para piano. Buenos Aires: G. Ricordi, [1920?]. CU. call no. M25.S36 P7 (2 copies). Contents: Frenos--La catedral--Danza aerea. Both copies inscribed to Vines by the composer on caption. One copy is dated 19 November 1920; the other is dated 30 September 1925. Evidently Soderini forgot that he had already given a copy of the work to Vines. Neither score has any markings by Vines.

*Spindler, Fritz. Fleurs melodiques. Bouquet de violettes, op. 43, no. 3. Paris: J. Hielard, [1874?]. Pub. no. J. HD. 472; CU call no. M25.S71 F53. This and the following Spindler score were probably purchased in Spain, before Vines's move to Paris.

*______. Fleurs melodiques. Le lys, op. 43, no. 5. Paris: J. Hielard. [1874?]. Pub. no. J. HD. 474; CU call no. M25.S71 F55.

Stierlin-Vallon, Henri. Venise: Neuf etudes pour piano. Paris: M. Eschig, 1931. Pub. no. M. E. 2664; CU call no. M25.S746 V4. Contents: "La salute." et son reflet--Vieux palais sur le "Canal-grande"--Saint-Marc--Gondoles--Le "Retour de chioggia"--Dimanche matin--Les plombs et le pont des soupirs--Clapotis--La "bora" sous le rialto. "Vieux palais sur le 'Canal-grande' " is dedicated to Vines.

*Szanto, Theodor [Tivadar]. Ballade: Fur Pianoforte zu zwei Handen, op. 2. Leipzig: C. F. Kahnt, 1903. Pub. no. 3725; CU call no. M25 S98 B3.

*______. Dramatische Elegie: Fur Klavier, op. 3. Leipzig: C. F. Kahnt, 1904. Pub. no. 4230; CU cal no. M25 S98 D7.

*______. Etudes orientales, op. 1. 2 vols. Leipzig: C. F. Kahnt, 1903. Pub. nos. 3723-3724; CU call no. M25 S98 E8 v. 1-2.

*______. Lamentation: Fur Klavier, op. 4. 2 vols. Leipzig: C. F. Kahnt, 1905. Pub. nos. 4339 (vol. 1), 4254 (vol. 2); CU call no. M25 S98 L3 v. 1-2.

Tausing, Carl. Walzer-Capricen nach Johann Strauss: Man lebt nur einmal, op. 167, no. 2. Heft II. Leipzig: J. Schuberth, [ca. 1868?]. Pub. no. 4414; CU call no. M32.T38 W3. Contains some fingerings and markings.

Thirion, Louis, Reves: Trois nocturnes pour piano. Paris: E. Demets, 1908. Pub. no. E. 1373 D.; CU call no. M25.T53 R4. Inscribed to Vines by the composer on title page. Vines performed this work on 5 March 1910 at the Salle Pleyel (Duchesneau, 369).

*Trepard, Emile. Suite pour piano. Paris: L. Grus, 1926. Pub. no. L. G. & Cie. 6544; CU call no. M24.T8 S8. Inscribed to Vines by the composer on cover. Dedicated to Vines.

*Troiani, Cayetano (Gaetano). Etincelles: Quinze morceaux pour piano. Paris: M. Senart. [1924?]. Pub. no. E. M. S. 4371; CU call no. MS M24.T82 E8. Inscribed to Vines by the composer on title page. Contains some handwritten emendations on p. 6.

Turina, Joaquin. Album de viaje. Madrid: Union Musical Espanola, 1916. Pub. no. 43121; CU call no. M24.T875 A4 1916. Contents: Retrato--El casino de Algeciras--Gibraltar--Paseo nocturno--Fiesta mora en Tanger. Inscribed to Vines by the composer on caption. Pieces 2-5 contain fingerings.

______. Ninerias: Petite suite pour piano. Paris: Rouart, Lerolle & Cie, 1920. Pub. no. R. L. 11092 & Cie.; CU call no. M24.T875 N5. Contents: Prelude et fugue--Ce qu'on voit sur la Giraldi--Defile des soldats de plomb--Berceuse--Danse des poupees--? ... --A la memoire d'un bebe--Jeux.

______. Sanlucar de Barrameda: Sonata pintoresca para piano. Madrid: Union Musical Espanola, [1923?]. Pub. no. 43835; CU call no. M23.T9 S3. Contents: En la torre del castillo--Siluetas de la Calzada--La playa--Los pescadores en Bajo de Guia. Inscribed to Vines by the composer on caption (fig. 1).

______. Trois danses andalouses. Paris: Rouart, Lerolle & Cie, 1913. Pub. no. R. L. 9957. & Cie.; CU call no. M30.T8 D3. Contents: Petenera--Tango Zapateado. Inscribed to Vines by the composer on title page verso.

*Verneuil, Raoul de. La boa: Danza no. 3 para piano. Paris: A La flute de Pan. 1935. Pub. no. F. 530 P.; CU call no. M31.V4 B6. See above, p. 381, for information on the Three Dances by Verneuil, and the numerous markings, corrections, and a cut notated by Vines.

*______. Colinas: Danza no. 1 para piano. Paris: a La flute de Pan, 1935. Pub. no. F. 528. P.; CU call no. M31.V4 C6. Contains fingerings.

*______. Etude no. 1: Pour piano. Landschaft. Paris: A La flute de Pan, 1935. Pub. no. F. 527 P.; CU call no. M25.V47 E8 (2 copies).

*______. El puma: Danza no. 2 para piano. Paris: A La flute de Pan, 1935. Pub. no. F. 529. P.: CU call no. M31.V4 P8 (2 copies). Copy 2 contains fingerings.

*Vieuxtemps, Lucien. Caprice pour le piano sur un theme de Beethoven, op. 10. Paris: Schott, [1862?]. Pub. no. 15218; CU call no. M25.V51 C3. This is a set of variations on the theme from the second movement of the "Kreutzer" Sonata. The score includes Vines's fingerings on pp. 4 and 8.

*Vines, Ricardo. Quatre hommages: Pour le piano. Barcelona: l'Institut Francais en Espagne. [1945?]. Pub. nos. 3-4; CU call no. M24 V72 H6. Contents: Minuet spectral (a la memoire de Maurice Ravel)--En Verlaine mineur (a la memoire de Gabriel Faure)--Threnodie, ou Funerailles antiques (a la memoire de Erik Satie)--Crinoline, ou la valse au temps de la Montijo (Hommage a Leon-Paul Fargue). Does not have Vines's stamp. No. 4 of a limited edition of 300.

*Weksler, S. H. Serenade (Mandolinata): Pour piano. Paris: Ch. Hayet, 1916. Pub. no. C. 6774. H.; CU call no. M25.W41 S4. Contains added notes in the left hand at the beginning.

Welsch, Henri. Plainte du vent qui pleure pour piano. Paris: Edition Moderne, 1913. Pub. no. E. M. 504; CU call no. M25.W446 P5. Dedicated to Vines.

Widor, Charles-Marie. Carnaval: Douze pieces pour piano, op. 61. Paris: J. Hamelle, [1889-90?]. Pub. nos. J. 2953 H.-J. 2964 H.; CU call no. M24.W66 op.61. Contents: Timbales et trompettes--Flirt--Bal masque--Rosita--Entree turque--Zanetto--Viennoise--Entree polonaise--Hongroise--Bohemienne--Francesca--Final.

______. Suite polonaise: Pour piano, op. 51. Paris: J. Hamelle, [1882?]. Pub. nos. J. 1877.1 H.-J. 1881.5 H.; CU call no. M24.W66 op.51. First movement contains markings in Beriot's hand.

*Wiener, Jean. Sonate: Pour piano. Paris: M. Eschig, 1926. Pub. no. M. E. 1644; CU call no. M23.W68 S63.

Williams, Alberto. Aires de la pampa: Marotes, op. 75. Buenos Aires: Gurina, [1918?]. CU call no. M25.W55 A3 op. 75.

______. Aires de la pampa: Milongas, op. 72. Buenos Aires: Gurina, [1916?]. CU call no. M25.W55 A3 op. 72. Contents: La mirada de mi china--Galopando por la pampa.

______. Aires de la pampa: Vidalitas, op. 66. Buenos Aires: Gurina, [1913?]. CU call no. M25.W55 A3.

*______. Cantares: Chants populaires, op. 70. Buenos Aires: Gurina, [1916]. CU call no. M24.W69 op.70. Contents: Las campanas de Montalvan--En el mar esta mi dicha--Asomate a esa ventana--Canta, mi vida, canta--Arrorro mi nino--Las estrellas del cielo--Si quieres que yo te quiera--Desde que el se fue--Dame la bota, morena--A la hueya, hueya. Inscribed to Vines by the composer in 1920 on title page verso. "Las estrellas del cielo" is dedicated to Vines.

______. En la pampa = Dans la pampa, op. 76. Buenos Aires: Gurina, [1918?]. CU call no. M25.W55 E5. Contents: En el pajonal--Triste de payador--Desfile de carretas en lontananza--Poncho de macachines para tus pies.

______. Milongas (Aires de la pampa), op. 63 (version pour piano). Buenos Aires: Gurina, [1912?]. Pub. no. 63; CU call no. M25.W55 A3 op. 63. Contents: Bailarina sandunguera--Equilibrista sobre botellas--A la sombra de un ombu--Requiebro a las caderas--Arrastrando el ala--La rodaja de mi espuela se ha enredado en tu pollera--Reuiebros de la bordona--Nostalgia de la pampa--Que trenzas para pialar payadores!--Martin Fierro en la pulperia. Inscribed to Vines by the composer on title page verso.

______. Milongas: Danses Argentines. Paris: H. Lemoine, [1930?]. Pub. no. 22,350 H. L.; CU call no. M22.W55 M5. Contents: La mirada de mi china, op. 72, no. 1--Equilibrista sobre botellas, op. 63, no. 2--La milonga del tropero, op. 64, no. 8--Luciernagas en la redecilla de mi china, op. 72, no. 7--La milonga del volatinero, op. 72, no. 6. Inscribed to Vines by the composer on title page.

______. Poema de la quebrada = Poeme du ravin, op. 79. Buenos Aires: La Quina, [1920]. CU call no. M25.W55 P6 op. 79. Contents: Rumores de hojas--Vislumbres crepusculares--Hilo de agua. Inscribed to Vines by the composer on title page verso. Dedicated to Vines.

______. Poema fueguino = Poeme fuegien: Piano, op. 86. Buenos Aires: Gurina, [1923?]. CU call no. M25.W55 P6 op.86. Contents: Tempanos mecidos por las olas--Pinguinos nadando--Barcarola antartica--Crespusculo vespertino en Ushuaia--Bandada de avutardas.

______. Six pieces: Extraites de ses poemes pour piano. Paris: H. Lemoine, [1920?]. Pub. no. 22,393. HL; CU call no. M22.W55 P5. Contents: Hilo de agua, op. 79, no. 3--Cancion del cabrero, op. 80, no. 3--Halo lunaire, op. 84, no. 2--Barcarola antartica, op. 86, no. 3--Inquietud de los colibries, op. 85, no. 3--Fagus antarticos, op. 87, no. 2. Inscribed to Vines by the composer on title page (fig. 4). "Hilo de agua" is dedicated to Vines.

______. Suite Argentina: Piano, op. 91. Buenos Aires: Gurina, [1932?]. Pub. no. 169; CU call no. M24.W69 op.91. Contents: La oracion--Hueya marplatense--Vidalita--Milonga chapadmalense.

______. Vidalitas, op. 61. Buenos Aires: Gurina, [1912?]. Pub. no.

61, 45; CU call no. M25.W55 V5. Inscribed to Vines by the composer on title page.

* Williams, Irma. Mis primeras composiciones: Para piano, op. 1. Buenos Aires: Gurina, [ca. 1926?]. Pub. no. 123; CU call no. M25 W56 op. 1. Contents: La alondra--Danza del Oso--Vuelo de pajaro--Ronda de las ranas--Navidad--Danza de los gnomos. Compositions dated 1917-26.

* ______. La noche: Para piano. Buenos Aires: Gurina, [ca. 1930?] Pub. no. 145; CU call no. M25 W56 N6.

* Wolff, Edward. La triomphale: Etude de salon, op. 192. 2d ed. Paris: A. Fouquet, [1889?]. Pub. no. A. F.; CU call no. M25.W63 E8. Among the virtuoso works assigned to the young Vines by Beriot (Brody, "The Spaniards in Paris," 177).

Woollett, Henry. Prelude, fugue et final: En si mineur pour piano. Paris: E. Girod, [1903?]. Pub. no. E. G. 6538; CU call no. M25.W66 P7. Inscribed to Vines by the composer on title page. Contains corrections (on pp. 2 and 5) as well as many fingerings.


* = Composers not otherwise represented in OCLC's WorldCat and the RLG Union Catalog. The country indicated for each composer is that where he or she was most active, as opposed to country of birth. The authors would appreciate receiving corrections and additions to this index.

Abbiate, Louis, 1866-1933, France

Aceves, Rafael, 1837-1876, Spain

Albeniz, Isaac, 1860-1909, Spain

Alkan, Valentin, 1813-1888, France

Allende, Pedro Humberto, 1885-1959, Chile

*Allix, Paul, 1888-1960, France

Amani, Nikolai, 1872-1904, Russia

Arrieu, Claude, 1903-1990, France

Artance, Felix, fl. ca. 1900, France

Aubert, Louis, 1877-1968, France

Auric, Georges, 1899-1983, France

Auzende, Ange-Marie, 1850-1940, France

Bachelet, Alfred, 1864-1944, France

*Bacio, Paolo, fl. ca. 1900?, France?

Balakirev, Mily Aleksey, 1837-1910, Russia

*Barbillion, Jeanne, b. 1895, France

Barraine, Elsa, 1910-1999, France

Bartholoni, Jean, 1880-1937, France

Beck, Conrad, 1901-1989, Switzerland

Behr, Franz, 1837-1898, Germany

Beriot, Charles-Wilfrid, 1833-1914, France

Berlioz, Hector, 1803-1869, France

Bernard, Robert, 1900-1971, France

Bertelin, Albert, 1872-1951, France

Berthet, See Francois-Berthet

*Bisetzka. M. A., fl. ca. 1900?, France?

Blancafort, Manuel, 1897-1987, Spain

Blumenfeld, Felix, 1863-1931, Russia

Blumenthal, Jacques, 1829-1908, England

Bondeville, Emmanuel, 1898-1987, France

Bonheur, Raymond, 1851-1939, France

Borchard, Adolphe, 1882-1967, France

Bordes, Charles, 1863-1909, France

Bordogni, Eugene Willent, fl. ca. 1860?, France?

Borodin, Aleksandr, 1833-1887, Russia

Bortkiewicz, Sergei, 1877-1952, Austria

Bourgault-Ducoudray, Louis, 1840-1910, France

*Brahy, Amedee, fl. ca. 1915?, Belgium?

Brailoiu, Constantin, 1893-1958, France

Brassin, Louis, 1840-1884, Belgium

Brayer, Jules de, fl. ca. 1905?, France?

Breteuil, Francois de, b. 1892, France

Breville. Pierre de, 1861-1949, France

Brillouin, Jacques, fl. ca. 1930?, France?

Bringuet-Idiartborde, A., 1898-1971, Argentina

Brucken Fock, Gerard von. 1859-1935, Holland

Bruneau, Alfred, 1857-1934, France

*Bunge, H., fl. ca. 1935?, England?

Caetani, Roffredo, 1871-1961, Italy

Canteloube, Joseph, 1879-1957, France

*Carol-Berard, 1881-1942, France

*Cartey, Guido Anatolio, fl. ca. 1930?, Argentina?

Casella, Enrique Mario, 1891-1948, Argentina

Casiniere, Yves de la, b. 1887, France

Castelnuovo-Tedesco, Mario, 1895-1968, Italy

Castera, Rene de, 1873-1955, France

Castillon, Alexis, Vicomte de, 1838-1873, France

Ceillier, Laurent, b. 1884, France

Cervantes, Ignacio, 1847-1905, Cuba

Chabrier, Emmanuel, 1841-1894, France

Chaminade, Cecile, 1857-1944, France

*Chandelier, Albert, fl. ca. 1920?, France?

Chapuis, Auguste, 1858-1933, France

*Chatillon, Ernest Jean, 1879-1947, France

Chaumont, Emile, 1878-1942, Belgium

Chevaillier, Jucien, 1883-1932, France

Chevillard, Camille, 1859-1923, France

*Chimenti, Armando, 1881-1927, Argentina

Choisy, Frank Louis, b. 1872, Belgium

Chopin, Frederic, 1810-1849, Poland

Chretien, Hedwige, 1859-1944, France

Cluzeau-Mortet, Luis, 1889-1957, Uruguay

Coedes-Mongin, Andre, fl. ca. 1915?, France?

Collet, Henri, 1885-1951, France

Commette, Edouard, 1883-1967, France

Cortese, Luigi, 1899-1976, Italy

Costa, Luis, 1879-1960, Portugal

Cras, Jean, 1879-1932, France

Croce-Spinelli, B., fl. ca. 1940?, France?

Curubeto Godoy, Maria Isabel, 1898-1959, Argentina

Cuvelard, Georges, France?

Czibulka, Alphons, 1842-1894, Hungary

*Daia, Michail Pierre, fl. ca. 1925?, Germany?

Daneau, Suzanne, 1901-1971, Belgium

Daniel-Lesur (Lesur, Daniel Jean Yves), 1908-2002, France

De Blanck, Hubert, 1856-1932, Cuba

Debussy, Claude, 1862-1918, France

Decreus, Camille, 1876-1939, France

*Delacroix, Auguste, fl. ca. 1915?, France?

Delafosse, Leon, 1874-1955, France

Delage, Maurice, 1879-1961, France

Delmas, Marc, 1885-1931, France

Delune, Louis, 1876-1940, Belgium

Dere, Jean, 1886-1970, France

Dora, Jean, fl. ca. 1925?, France?

Doret, Gustave, 1866-1943, Switzerland

*Dortu, Willy, fl. ca. 1925?, France?

Doyen, Albert, 1882-1935, France

Dubois, Theodore, 1837-1924, France

Duboscq, Claude, fl. ca. 1925?, France?

*Ducourau, Marta, fl. ca. 1910?, France?

Dukas, Paul, 1865-1935, France

Dumas, Louis, 1877-1952, France

Dumoulin, Maxime, 1893-1972, France

Duparc, Henri, 1848-1933, France

Duperier, Jean, b. 1886, Switzerland

Dupin, Paul, 1865-1949, France

Dupont, Auguste, 1827-1890, Belgium

Dupuis, Albert, 1877-1967, Belgium

Durand de Fontmagne, Marie-Caroline Drummond de Melfort, Baronne, b. ca. 1840-d. after 1902, France

*Durel, Jacques, fl. ca. 1920?, France?

*Elie, Henri, fl. ca. 1915?, France?

Emmanuel, Maurice, 1862-1938, France

Enescu, George, 1881-1955, Romania

Erlanger, Frederic, Baron d', 1868-1943, England

Excoffier, Lucien, fl. ca. 1925?, France?

Falla, Manuel de, 1876-1946, Spain

Faure, Gabriel, 1845-1924, France

Febvre-Longeray, Albert, fl. ca. 1930?, France?

Felix, Ch. Henri, fl. ca. 1910?, France?

Fevrier, Henry, 1875-1957, France

Flagny, Adhemar de, France?

Flagny, Lucien de, d. 1927, France

Foch, Dirk, 1886-1973, Holland

*Fontova, Conrado Abelardo, 1865-1923, Argentina

Forte, Vicente, 1888-1966, Argentina

Fraguier, J. de, fl. ca. 1925?, France?

Francaix, Alfred, b. 1880, France

Franck, Cesar, 1822-1890, France

Francmesnil, Roger de, 1884-1921, France

Franco-Mendes, Hans, 1890-1951, Holland

Francois-Berthet, 1873-1956, France

Frey, Emil, 1889-1946, Switzerland

Friboulet, Georges, fl. ca. 1935?, France?

Fromaigeat, E., fl. ca. 1930?, France?

Fryer, Herbert, 1877-1957, England

Fumet, Dynam-Victor, 1867-1949, France

Gaillard, Marius Francois, 1900-1973, France

Gaito, Constantino, 1878-1945, Argentina

Gallon, Jean, 1878-1959, France

Gallon, Noel, 1891-1966, France

Ganz, Rudolf, 1877-1972, Switzerland

Gastoue, Amedee, 1873-1943, France

Gauthiez, Cecile, 1873-1846, France

Gedalge, Andre, 1856-1926, France

Georges, Alexandre, 1850-1938, France

Gevaert, Francois-Auguste, 1828-1908, Belgium

Ghys, Henry, 1839-1908, France

Giro, Manuel, 1848-1916, Spain

Glinka, Mikhail, 1804-1857, Russia

Godard, Benjamin, 1849-1895, France

*Godebski, Franz, fl. ca. 1900?, France

Godowsky, Leopold, 1870-1938, United States

*Gols, Xavier, 1902-1938, Spain

Gomez Carrillo, Manuel, 1883-1968, Argentina

*Goremyka, Iwan, pseudonym

Goue, Emile, 1904-1946, France

Gradstein, Alfred, 1904-1954, Poland

Grandjany, Marcel, 1891-1975, United States

Grosz, Wilhelm, 1894-1939, Austria

Grovlez, Gabriel, 1879-1944, France

*Groz, Albert, b. 1873, France

Guillard, See Le Guillard

Guiraud, Georges, d. 1928, France

Harsanyi, Tibor, 1898-1954, Hungary

Hennessy, Swan, 1866-1929, United States

Herard, Paul-Silva, fl. ca. 1930?, France?

Herberigs, Robert, 1886-1974, Belgium

Hermant, Pierre, fl. ca. 1915, France

Herscher-Clement, Jeanne, 1878-1941, France

Honegger, Arthur, 1892-1955, Switzerland

Hubeau, Jean, 1917-1992, France

Ibert, Jacques, 1890-1962, France

Ifukube, Akira, b. 1914, Japan

Illiashenko, Andre S., b. 1884, Russia

Imbert, Maurice, b. 1893, France

Indy, Vincent d', 1851-1931, France

Inghelbrecht, Desire Emile, 1880-1965, France

Isamitt, Carlos, 1887-1974, Chile

Jacob, Maxime, 1906-1977, France

Jemain, J., fl. ca. 1900?, France?

Jongen, Joseph, 1873-1953, Belgium

Karpov, Mikhail, fl. ca. 1910?, Germany?

Ketterer, Eugene, 1831-1870, France

Kirchner, Theodor, 1823-1903, Germany

Koechlin, Charles, 1867-1950, France

Koennemann, Miloslaw, 1826-1890, Czechoslovakia

Konstantinoff, K., fl. ca. 1940?, France?

Kouguell, Arkadie, 1898-1985, United States

Krein, Yulian, 1913-1996, Russia

Kufferath, Hubert-Ferdinand, 1818-1896, Belgium

Kullman, Alfred, b. 1875, France

Kunc, Pierre, 1865-1941, France

Labey, Marcel, 1875-1968, France

Lacombe, Paul, 1837-1927, France

Ladmirault, Paul, 1877-1944, France

Lauber, Joseph, 1864-1952, Switzerland

Lazarus, Daniel, 1898-1964, France

Lazzari, Sylvio, 1857-1944, France

Le Guillard, Albert, 1887-1958, France

Lefebvre, Charles Edouard, 1843-1917, France

Lenormand, Rene, 1846-1932, France

Leschetizky, Theodor, 1830-1915, Poland

Lesur, See Daniel-Lesur

Levy, Lazare, 1882-1964, France

Lourie, Arthur Vincent, 1891-1966, Russia

*Luguet, E., fl. ca. 1940?, France?

Lutz, Henri, fl. ca. 1910?, France?

*Lwowsky, Cecilia, fl. ca. 1925?, France?

Lyadov, Anatoly, 1855-1914, Russia

Lyapunov, Sergey, 1859-1924, Russia

Maikapar, Samuil, 1867-1938, Russia

*Machado, Alberto Jose, 1881-1929, Argentina

*Mackenzie de Dietz, Cathinka, France?

Magnard, Alberic, 1865-1914, France

Maigret, Ivan de, fl. ca. 1915?, France?

Maingueneau, Louis, 1884-1950, France?

Malengreau, Paul, 1887-1956, Belgium

Malipiero, Gian Francesco, 1882-1973, Italy

*Mangue, M. L., fl. ca. 1920?, France?

Manziarly, Marcelle de, 1899-1989, France

Mariotte, Antoine, 1875-1944, France

*Marot, Andre, fl. ca. 1925?, France?

*Marques Puig, Antonio, 1897-1944, Spain

Marty, Georges, 1860-1908, France

Massa, Juan Bautista, 1885-1938, Argentina

Massana, Antoni, 1890-1966, Catalonia

Masson, Paul-Marie, 1882-1954, France

*Melmeister, Julieff, fl. ca. 1927?, France?

Mendelssohn, Felix, 1809-1847, Germany

Meulemans, Arthur, 1884-1966, Belgium

Migot, Georges, 1891-1976, France

Milhaud, Darius, 1892-1974, France

Monnikendam, Marius, 1896-1997, Holland

*Montet-Gary, Pierre, France?

Montfort, Robert, fl. ca. 1920?, France?

Morac, Charles, fl. ca. 1910?, France?

Moreau, Leon, 1870-1946, France

*Morpain, Joseph, 1873-1961, France

Moszkowski, Moritz, 1854-1925, Germany

Mottu, Alexandre, 1883-1943, Switzerland

Moulaert, Raymond, 1875-1962, Belgium

Moulle, Edouard, fl. ca. 1910?, France?

Narici, Louis, fl. ca. 1910?, France?

Nerini, Emile, 1882-1967, France

*Noel, Marcel, 1857-1935, France

Nollet, E., fl. ca. 1915?, France?

Novak, Vitezslav, 1870-1949, Czechoslovakia

*Odeyer, Ernest, fl. ca. 1865?, France?

Ollone, Max d', 1875-1959, France

Orban, Marcel, 1884-1958, France

Oswald, Henrique, 1852-1931, Brazil

Pallemaerts, Edmondo, 1867-1945, Argentina

Paque, Desire, 1867-1939, Belgium

Parent, Armand, 1863-1934, Belgium

Pascal, Andre, b. 1894, France

*Passianoff, G., fl. ca. 1910?, France?

Paulin, Gaston, d. 1921, France

Paur, Emil, 1855-1932, Austria

Perkowski, Piotr, 1901-1990, Poland

Perrachio, Luigi, 1883-1966, Italy

*Perrin, Edouard, fl. ca. 1910?, France?

Pesse, Maurice, 1881-1943, France

Peters, Rudolf, 1902-1962, Germany

Pfeiffer, Hubert, 1891-1932, Germany

Philip, Achille, 1878-1959, France

Philipp, Isidore, 1863-1958, France

Pierne, Gabriel, 1863-1937, France

Pijper, Willem, 1894-1947, Holland

Piriou, Adolphe, 1878-1964, France

Ple, Simone, 1897-1985, France

Poldowski [Lady Irene Dean Paul, nee Wieniawska], 1879-1932, Poland

Polignac, Armande de, 1876-1962, France

Poniridy, Georges, 1892-1982, Greece

Pons, Charles, 1870-1957, France

Poueigh, Jean, 1876-1958, France

Pouishnov, Lev, 1891-1959, England

Poulenc, Francis, 1899-1963, France

Provaznik, Anatol, 1887-1950, Czechoslovakia

Rabaud, Henri, 1873-1949, France

Rachmaninoff, Sergey, 1873-1943, Russia

Raff, Joachim, 1822-1882, Germany

Ravel, Maurice, 1875-1937, France

Reger, Max, 1873-1916, Germany

*Reitlinger, A., fl. ca. 1910?, France?

Rene, Charles, 1863-1935, France

Reuchsel, Amedee, 1875-1931, France

Rey-Andreu, Etienne, b. 1875, France

Rhene-Baton, 1879-1940, France

Ritas, George, fl. ca. 1900?, France?

Ritter, Theodore, 1841-1886, France

Robert, Clement, 1886-1941, France

*Robert, Jean, 1908-1981, Holland

Roesgen-Champion, Marguerite, 1894-1976, Switzerland

Roger-Ducasse, Jean, 1873-1954, France

Rogowski, Ludomir Michal, 1881-1954, Poland

Rohozinski, Ladislas de, 1886-1938, France

*Rojoux, Charles, fl. ca. 1900?, France?

Romanette, Jean, 1905-1935, France

Ropartz, Joseph Guy, 1864-1955, France

Rose, Alfred, 1902-1975, Canada

Rosenthal, Manuel, 1904-2003, France

Rosenthal, Moriz, 1862-1946, Poland

Royer, Etienne, 1882-1928, France

Rubinstein, Anton, 1829-1894, Russia

Rufino, Abel, fl. ca. 1925?, Argentina?

Saint-Quentin, G. de, fl. ca. 1890?, France?

Saint-Saens, Camille, 1835-1921, France

Saminsky, Lazare, 1882-1959, United States

Samuel-Rousseau, Marcel, 1882-1955, France

Sapelnikov, Vassily, 1867-1941, Russia

Sauguet, Henri, 1901-1989, France

Schencke, Gustave, France?

*Schirle, M. I. A., fl. ca. 1930?, France?

Schmitt, Florent, 1870-1958, France

Schulhoff, Julius, 1825-1898, Germany

Schutt, Eduard, 1856-1933, Austria

Sciortino, Edouard, 1893-1979, France

Seroux, Maurice de, fl. ca. 1925?, France?

Sevadjian, V. S., fl. ca. 1905?, France?

Scherbachev, Nikolai Vladimir, fl. ca. 1900?, France?

Siefert, E. B., fl. ca. 1910?, France?

Soderini, Domingo, b. 1887, Argentina

Spindler, Fritz, 1817-1905, Germany

Spohr, Louis, 1784-1859, Germany

Sporck, Georges, 1870-1943, France

Staub, Victor, 1872-1953, France

*Steck, Francisco, 1887-1965, Belgium

*Stenger, Charles, France?

Stierlin-Vallon, Henri, 1887-1952, Switzerland

Straus, Erwin, 1910-1966, Germany

Strohl, Rita, fl. ca. 1900?, France?

Suk, Josef, 1874-1935, Czechoslovakia

Szalowski, Antoni, 1907-1973, Poland

Szanto, Theodor, 1877-1934, Hungary

Taneev, See Taneyev

Taneyev, Aleksander, 1850-1918, Russia

Tansman, Alexandre, 1897-1986, France

Tausig, Carl, 1841-1871, Poland

Tcherepnin, Alexander, 1899-1977, Russia

Thalberg, Sigismond, 1812-1871, Germany

Thirion, Louis, 1879-1966, France

Tomasi, Henri, 1901-1971, France

Trepard, Emile, b. 1870, France

Troiani, Cayetano (Gaetano), 1873-1942, Argentina

*Troisi, Clelia Hebe, fl. ca. 1930?, Argentina?

Turina, Joaquin, 1882-1949, Spain

Vaillant, Henry, fl. ca. 1895?, France?

Vellones, Pierre, 1889-1939, France

*Verley, Albert, France?

Verneuil, Raoul de, b. 1899, Peru

Vianna da Motta, Jose, 1868-1948, Portugal

Vierne, Louis, 1870-1937, France

Vieuxtemps, Lucien, 1828-1901, Belgium

Villa, Ricardo, 1877-1935, Spain

Villa-Lobos, Heitor, 1887-1959, Brazil

Villar, Rogelio del, 1875-1937, Spain

*Vines, Ricardo, 1875-1943, Spain

Voormolen, Alexander, 1895-1980, Holland

Vuataz, Roger, 1898-1988, Switzerland

Vuillemin, Louis, 1879-1929, France

Wachtmeister, Axel Raoul, 1865-1947, Sweden

Waterman, Adolf, b. 1886, Germany

*Weksler, S. H., fl. ca. 1915?, France?

Welsch, Henri, fl. ca. 1910?, France?

Widor, Charles-Marie, 1844-1937, France

Wiener, Jean, 1896-1982, France

Williams, Alberto, 1862-1952, Argentina

*Williams, Irma, fl. ca. 1920?, Argentina

Witkowski, Georges, 1867-1943, France

Wolff, Edward, 1816-1880, Poland

Woollett, Henry, 1864-1936, France

Wurmser, Lucien, 1877-1967, France

*Yzelen, D. fl. ca. 1920?, France?

1. John Gillespie and Anna Gillespie, Notable Twentieth-Century Pianists: A Bio-Critical Sourcebook, 2 vols. (Westport, CT: Greenwood Press, 1995), 2:855.

2. Charles-Wilfrid Beriot (1833-1914), son of the Belgian violinist and composer Charles-Auguste de Beriot (1802-1870), attracted a number of students from Spain because of an important connection: his mother was the great Spanish mezzo-soprano Maria Malibran (1808-1836), who died when he was three: his aunt (Malibran's sister) was the mezzo-soprano, composer, and pianist Pauline Viardot (1821-1910); his uncle (brother of Malibran and Viardot) was Manuel Garcia the younger (1805-1906), baritone and singing teacher; and the progenitor of these three--Beriot's grandfather--was the elder Manuel Garcia (1775-1832), who was a composer, tenor, and singing teacher.

3. Elaine Brody, "Vines in Paris: New Light on Twentieth-Century Performance Practice," in A Musical Offering: Essays in Honor of Martin Bernstein, ed. Claire Brook and Edward H. Clinkscale, 45-62 at 47 (New York: Pendragon, 1977).

4. Ibid., 50, quoting Vines's diary entry for 9 February 1893. From 1887 until 1914, with occasional interruptions, Vines kept a diary in which he described several aspects of his life, including the books he read, the pieces he worked on and performed, the friends he spent time with, and his emotional states. Various parts of the diary (written in Spanish) have been translated into French. See Nina Gubisch, ed., "Le journal inedit de Ricardo Vines: Introduction, traduction et notes," Revue internationale de la musique francaise 1 (1980): 153-248; and Suzy Levy, ed., Journal inedit de Ricardo Vines: Odilon Redon et le milieu occultiste, 1897-1915 (Paris: Aux Amateurs de Livres, 1987). For extracts and summaries in English, see Elaine Brody, "The Spaniards in Paris: From the Unpublished Journal of Ricardo Vines," in her Paris: The Musical Kaleidoscope, 1870-1925 (New York: George Braziller, 1987), 168-89.

5. Vines's later scores are usually only lightly marked with occasional fingerings, but the score of this concerto has fingering numbers on virtually every note in the passage-work, in a handwriting that is most likely that of the young Vines.

6. Gubisch, 188.

7. Best friends since youth, the relationship between Ravel and Vines cooled considerably after the 1908 premiere of Gaspard de la nuit. According to Nina Gubisch (interview by Korevaar, 20 June 2002), after the death of Vines's mother in 1907 the pianist turned more and more to Catholicism and became more aggressive with his religious beliefs as well as his reactionary politics. Vines back-slappingly shared his enthusiasms in art, the occult, and religious mysticism, according to Leon-Paul Fargue, "Un heros de la musique: Ricardo Vines," in his Portraits de famille: Souvenirs (Paris: J. B. Janin, 1947), 221-22. It is conceivable that the fervently secular and left-wing Ravel finally lost patience with his friend's religious and political pronouncements. For more information on the Vines-Ravel relationship, see David Korevaar, "Ravel's Mirrors" (D.M.A. diss., The Juilliard School, 2000), 2-9, 13-18, 19-20, 37-40, 49.

8. Brody, "Vines in Paris," 50-52. See also the discussion in Korevaar, 11-14.

9. Brody, "Vines in Paris," 46.

10. A. Mangeot, "Societe Nationale," Le monde musical 16, no. 1 (1 February 1904); 10, quoted in Michel Duchesneau, L'avant-garde musicale et ses societes a Paris de 1871 a 1939 (Sprimont, France; Pierre Mardaga, 1997), 181 n. 83. English trans., here and elsewhere, by David Korevaar.

11. C. Tenroc, "Societe Nationale de Musique," Le guide musical 59, no. 15 (13 April 1913); 321-22, quoted in Duchesneau, 46.

12. Duchesneau, 258-311. Duchesneau's list, limited to the two musical societies mentioned, gives only a partial picture of Vines's Parisian activities, which would have included numerous private salon performances as well as public concerts under other auspices. A selective list of Vines's premiere performances, including many outside of Paris, is found in Brody, "Vines in Paris," 57-61.

13. For information on an 1898 all-French program in Brussels, see Brody, "Vines in Paris," 53.

14. Esperanza Berrocal, "Ricardo Vines and the Diffusion of Early Twentieth-Century South American Piano Literature" (Ph.D. diss., Catholic University of America, 2002), 55-56. Except where noted, the account of Vines's travels and performances in the remainder of this section is based on Berrocal, 55-128.

15. Brody, "Vines in Paris," 48: and Charles Timbrell (with Esperanza Berrocal), "Vines, Ricardo," Grove Music Online (2001), (accessed 24 August 2004).

16. According to Brody, "Vines in Paris," 48, "After a triumphal return concert in Paris, his star began to fade. Although he had been decorated by the French, Belgian, and Spanish governments, he received fewer commissions, gave fewer recitals (these with miserably low fees), and won less and less recognition."

17. Berrocal, 135.

18. Nina Gubisch, interview by Korevaar, 20 June 2002, See also Brody, "Vines in Paris," 48.

19. Only the last three digits of the cards' numbers are meaningful. A "201" indicates the composer, "401" the title, "501" the arranger, and "751" the imprint. Blank cards were inserted between pieces, and composer cards were not repeated for multiple compositions. The numbering system--increasing by five for each new title's card set--made it possible to put them back in the right sequence.

20. Henry Waltemade to Warner Imig, 20 October 1954, Waltz Library Papers, University of Colorado at Boulder.

21. Howard B. Waltz, "A Short Historical Sketch of [the] College of Music Library from 1943-1975," paper presented at the Heritage Conference, College of Music, University of Colorado at Boulder, 3 October 1998. The music library was dedicated in Waltz's memory on 10 September 2002.

22. Bull was a student of Bela Bartok and Percy Grainger. His musical pedigree is also notable. Both of his grandfathers were nephews of the famous Norwegian violinist Ole Bull (1810-1880), and both were also first cousins of Edvard Grieg (1843-1907).

23. Storm Bull, Index to Biographies of Contemporary Composers, 3 vols. (New York: Scarecrow, 1964-87).

24. Brody, "Vines in Paris," 54 n. 35, describing Beres's list no. 62. ca. 1950. The authors have been unable to locate a copy of this special catalog issued by the New York Beres office.

25. Berrocal, 139. No other reference to the dealer Griland has been found.

26. Hans Moldenhauer, "From the Library of a Forgotten Pioneer" (unpublished paper, Paul Nettl Papers, William and Gayle Cook Music Library, Indiana University, n.d.), 4. Moldenhauer specifically mentions that his purchase was listed in Orlinick's catalog no. 21, and was the final lot offered. The authors have been unable to locate a copy of this catalog of the Scientific Library Service.

27. An inventory of the Moldenhauer Archives held by the ten repositories to which Moldenhauer distributed his collection is in The Rosaleen Moldenhauer Memorial: Music History from Primary Sources; A Guide to the Moldenhauer Archives, ed. Jon Newsom and Alfred Mann, 483-728 (Washington, DC: Library of Congress, 2000): this inventory lists only the the Library of Congress's Vines manuscripts.

28. Iris Snyder e-mail to Sampsel, I October 2002.

29. Berrocal, 140.

30. The authors continue to research the provenance and contents of Vines's entire music library.

31. See the the list of selected holdings, below, for full entries for each.

32. A list of all the composers represented in the collection, with their birth and death dates and national affilliations, concludes this article.

33. Chapter 5 in Berrocal (pp. 142-74) deals with "South American Composers in Paris and Their Association with Vines."

34. Brody, "The Spaniards in Paris," 182.

35. Ibid., 183.

36. Gubisch, 179.

37. Ibid., 188.

38. Brody, "The Spaniards in Paris," 172-73.

39. Ibid., 177.

40. Ibid., 170.

41. Ibid., 174, 179-80.

42. Ibid., 182.

43. Brody, "Vines in Paris," 54-55.

44. Duchesneau, 262.

45. Brody, "The Spaniards in Paris," 178.

46. Duchesneau, 276.

47. Ibid., 289.

48. Brody, "Vines in Paris," 53.

49. Duchesneau, 281.

50. Ibid., 265.

51. Berrocal, 77, mentions Vines's 1925 premiere of the "Fox-Trot" from the opera in Saint-Jean-de-Luz.

52. Duchesneau, 271, 275, 281.

53. Brody, "The Spaniards in Paris." 182.

54. Duchesneau, 266, 270.

55. Gubisch, 196.

56. The group, Les Apaches, was named ironically after a French slang term for "street toughs." It attracted a mix of poets, painters, musicians, and critics. The original members, besides Vines and Ravel, included Leon-Paul Fargue, Tristan Klingsor, Maurice Delage, M. D. Calvocoressi, Paul Sordes, and Desire Inghelbrecht. Among later distinguished attendees were Igor Stravinsky and Manuel de Falla. See Elaine Brody, "Music and Literature," in her Paris: The Musical Kaleidoscope, 136-67, esp. 145.

57. Gubisch, 201.

58. Ibid., 218 n. 26. Gubisch gives her married name as Countess de Chabanne La Palice, born in 1876.

59. Ibid., 208.

60. Ibid., 233.

61. Duchesneau, 164.

62. Ibid., 263.

63. Korevaar. 8.

64. Duchesneau, 288.

65. Berrocal, 88, mentions a performance of an unidentified Castelnuovo-Tedesco work in Bucnos Aires in 1930.

66. Susana Salgado, "Williams, Alberto," Grove Music Online (2001), (accessed 24 August 2004).

67. Duchesneau, 290.

68. Berrocal, 88-89, 101, 207, passim.

69. Ibid., 97.

70. Ibid., 209.

71. Ibid., 134.

72. Arbie Orenstein, Ravel: Man and Musician (New York: Dover, 1991), 16.

73. For more on Vines and Dreyfus, see Marcel Marnat, Maurice Ravel (Paris: Favard, 1986), 73-74.

David Korevaar is assistant professor of piano, and Laurie J. Sampsel is associate professor and faculty director of the music library at the University of Colorado at Boulder. Sampsel presented a shortened version of this paper at the 2003 annual meeting of the Music Library Association in Austin, Texas.
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