Catalog Record:
The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein.
Gift; Mary Virginia Foreman Le Garrec; 1997.
No further accruals are expected.
The Mary Virginia Foreman Le Garrec Collection of Artur Schnabel Materials was processed by Kevin LaVine in 2006. The finding aid was coded for EAD format by Nancy Seeger in 2011.
One acetate disc of Schnabel speaking, recorded at HMV Studios in London on June 6, 1950, was transferred to the Library of Congress Motion Picture, Broadcasting and Recorded Sound Division in March 2001.
The Library of Congress Music Division also holds the
The Mary Virginia Foreman Le Garrec Collection of Artur Schnabel Materials is governed by the Copyright Law of the United States (Title 17, U.S.C.) and other applicable international copyright laws.
The Mary Virginia Foreman Le Garrec Collection of Artur Schnabel Materials is open to research. Researchers are advised to contact the Music Division prior to visiting in order to determine whether the desired materials will be available at that time.
Certain restrictions to use or copying of materials may apply.
Researchers wishing to cite this collection should include the following information: [item, date, container number], Mary Virginia Foreman Le Garrec Collection of Artur Schnabel Materials, Music Division, Library of Congress, Washington, D.C.
Artur Schnabel was one of the greatest pianists and pedagogues in the history of musical performance. As a performer, Schnabel eschewed virtuosity in favor of musicianship – indeed, he considered himself a musician foremost, and the piano simply his creative medium – and his sound recordings consistently demonstrate interpretations of sensitivity, commitment, and distinction. He was one of the first pianists to champion new and unfamiliar repertoire (such as the piano sonatas of Franz Schubert), and the first pianist to record the complete sonatas and concerti of Ludwig van Beethoven. As a pedagogue, Schnabel is probably best known for his meticulously annotated performing edition of Beethoven’s piano sonatas, through which countless pianists were introduced to these foundations of the piano repertoire; this edition is in common use even today. Lesser known are Schnabel’s original musical compositions – his uncompromising atonal musical language continues to pose formidable challenges to performers, conductors and listeners – and his contribution to musical scholarship through his autobiography (
Schnabel’s student and confidante, Mary Virginia Foreman Le Garrec (born 1908), donated her collection of correspondence, musical scores, writings, concert programs, press clippings, publications, photographs, and other memorabilia related to Schnabel, to the Library in 1997.
The Mary Virginia Foreman Le Garrec Collection of Artur Schnabel Materials consists of material donated to the Library in 1997 by Le Garrec, who was Schnabel's student and confidante. The collection includes published music scores by Schnabel as well as by other composers, some of which contain annotations and performance indications in the hands of Schnabel, Le Garrec, and others. In addition, the collection contains Schnabel's correspondence with music figures such as Clifford Curzon, Rudolf Firkušný and Le Garrec; and Le Garrec’s correspondence with, among others, Pierre Fournier, René Liebowitz, Leopold Mannes, and Dmitri Mitropoulos. The collection also includes writings by both Schnabel and Le Garrec; concert programs featuring Schnabel as both pianist and composer; biographical material; press clippings, published articles, and monographs regarding Schnabel and his circle; books; photographs; and other iconography.
Kevin LaVine, May 2006
The Mary Virginia Foreman Le Garrec Collection of Artur Schnabel Materials is organized in eight series:
Includes three (3) leaves (5 pages) of text in the hand of MVFLG that contains her personal commentary about, and performance history of, this work. The text also includes her commentary about Schnabel’s
Includes photocopies of texts.
Noted at end: “ Gaston Ranch.”
Contains five (5) pages of photocopies of information about this work and transcriptions (in the hand of MVFLG) from Schnabel’s correspondence about this work.
The original copies of these five pages, in MVFLG’s hand, are held in Box 1/Folder 2.
Contains one photocopied page of information about this work, in the hand of MVFLG, the original of which is held in Box 1/Folder 2.
Contains one photocopied page of information about this work, in the hand of MVFLG, the original of which is held in Box 1/Folder 2.
Introductory page 2 contains transcriptions (in the hand of MVFLG, in ink, recto and verso of the page) from the correspondence of Schnabel regarding this work.
Noted at end: “ Moosehead Lake.”
Contains extensive text annotations throughout (suggested English lyrics to the melody of this work?), in pencil and ink, by MVFLG.
Labeled at top of page, in ink, in the hand of MVFLG, “Work sheet of Artur Schnabel / Paul Zukofsky found interesting - M.V.F.”
Contains annotations (photocopied from original) in the hand of MVFLG for English and French translations of the song’s original lyrics.
Contains performance indications throughout, in blue pencil.
Contains original annotations, in ink, in the hand of MVFLG for an English translation of the song’s original lyrics.
The score carries annotations throughout, including an English language version of the song’s lyrics, in black and blue ink, in the hand of MVFLG.
Verso of cover page and verso of end page carry annotations regarding this work, in black and blue inks, in the hand of MVFLG.
Contains original annotations, in ink, in the hand of MVFLG for an English translation of the song’s original lyrics.
Contains annotations (photocopied from original) in the hand of MVFLG for an English translation of the song’s original lyrics, as well as two instances (in blue and black ink) of annotations in MVFLG’s hand.
Annotations appear throughout, in blue and black ink, in the hand of MVFLG.
Cover page contains Schnabel's signature, in blue ink, and an indication, in black ink, that this score was presented to MVFLG by Schnabel. Final page (labelled page “18” by MVFLG) carries annotations regarding this work, in blue ink, in the hand of MVFLG.
Verso of cover page, verso of end page, and page one carry annotations regarding this work, in black ink, in the hand of MVFLG. Performance indications, in pencil and in black ink, appear throughout.
Sparse annotations and performance indications appear throughout, in black and blue inks, in the hand of MVFLG.
The final page (labelled page “54” by MVFLG) carries annotations regarding this work, in blue ink, in the hand of MVFLG.
Lacks publication information.
Page one preceding the score and the final page (labelled page “54” by MVFLG) carry annotations regarding this work, in black and blue inks, in the hand of MVFLG.
Contains original annotations, in ink and pencil, in the hand of MVFLG for English and French translations of the song’s original lyrics.
Sparse performance indications (page one of score only), in black and blue inks, in the hand of MVFLG.
A single performance indication, in blue ink, in the hand of MVFLG, appears on page one of the piano score.
Pages preceding and following the score carry performance indications, in black ink, in the hand of MVFLG.
Reprint of score originally published by Boosey & Hawkes, Inc., New York, 1961.
Contains extensive performance indications in pencil and in black ink.
Annotation on title page, in black ink and in the hand of MVFLG, reads: “Written for Gregor Piatigorsky / at his request — in 1931 - ”.
The two pages preceding and the three pages following the score carry annotations regarding this work, in blue and black ink, in the hand of MVFLG. Unnumbered page four preceding the score carries Schnabel's signature and his dedication of this [printed] score (“copy no. 6”) to MVFLG.
The two pages preceding the score and the verso of the end page carry annotations regarding this work, in black and blue inks, in the hand of MVFLG.
The one page following the score and the verso of the end page carry annotations regarding this work, in black and blue inks, in the hand of MVFLG.
Page two preceding the score carries annotations regarding this work, in black and blue inks, in the hand of MVFLG.
Reprint of score originally published by Boosey & Hawkes, Inc., New York, 1960.
The score carries annotations throughout, including an English language version of the song’s lyrics, in pencil and in black ink, in the hand of MVFLG.
Contains original annotations, in ink and pencil, in the hand of MVFLG for an English translation of the song’s original lyrics.
These pages carry an identical plate number: “149.”
Contains extensive performance indications throughout, in pencil and in black ink, in the hands of Schnabel and of MVFLG.
In extremely fragile condition.
Contains performance indications, in pencil, in Schnabel’s hand.
Contains performance indications, in pencil, in the hands of Schnabel and of MVFLG.
In fragile condition.
Contains performance indications throughout, in pencil, in Schnabel’s hand (according to annotations on the score’s cover page and page two, in black ink, in the hand of MVFLG).
In extremely fragile condition.
Contains performance indications throughout, in pencil, in the hand of MVFLG.
In fragile condition.
Contains performance indications throughout, in pencil (in the hand of MVFLG?).
In extremely fragile condition.
Contains performance indications, in pencil, in the hands of Schnabel and of MVFLG.
Contains performance indications, in pencil.
Contains performance indications, in pencil.
In fragile condition.
Contains performance indications, in pencil, in Schnabel’s hand.
Contains performance indications throughout, in pencil, in Schnabel’s hand.
Cover page carries an inscription, in black ink, in the hand of MVFLG: “Markings in all Brahms by Schnabel / During his recordings of Brahms, he used this music. M.V.F. 1993.”
Contains extensive performance indications throughout, in pencil, in Schnabel’s hand.
Cover page carries annotations, in black and blue inks, in the hand of MVFLG: Schnabel’s Berlin address (“Charlottenberg, Wielandstrasse 14”); and “His [Schnabel’s] personal copy from 1890's - The first he played - M.V.F.”
In extremely fragile condition.
Contains performance indications, in pencil, in Schnabel’s hand (according to annotation on page 35 – the de facto cover page – in blue and black ink, in the hand of MVFLG: “All marks by A. Schnabel.”).
In fragile condition.
Contains extensive performance indications throughout, in pencil and blue inks, in the hands of Schnabel and MVFLG.
In fragile condition.
Contains extensive performance indications throughout, in pencil and blue inks, in the hands of Schnabel and MVFLG.
In extremely fragile condition.
Contains performance indications throughout, in pencil, in Schnabel's hand (according to an annotation on the score’s cover, in black ink, in the hand of MVFLG: “Markings by Artur Schnabel.”).
In fragile condition.
Contains performance indications throughout in the hands of Schnabel (in pencil) and of MVFLG (in pencil and in black ink).
In fragile condition.
Contains performance indications, in pencil, in the hands of Schnabel and of MVFLG.
Indication on cover, in black ink, in the hand of MVFLG: “All markings by hand by Artur Schnabel...,” although markings that appear throughout the score, in pencil, appear to be in the hands of both Schnabel and MVFLG.
In extremely fragile condition.
Contains performance indications, in pencil and in blue ink, in the hands of both Schnabel and MVFLG.
Contains performance indications throughout, in pencil, in Schnabel’s hand.
End cover page carries an inscription, in pencil, in the hand of MVFLG: “Eusebius Mandyczewski - A.S.’s composition teacher.”
Contains performance indications throughout, in pencil and in black ink.
According to notes on the cover and title pages, in black ink, in the hand of MVFLG, performance indications in this score were made by Schnabel and by Clyde Stephens, MVFLG’s teacher while attending the University of Minnesota.
The score also contains performance indications, in pencil, in the hand of MVFLG.
Contains performance indications, in pencil, that were made (according to an annotation on the score’s cover page, in black ink, in the hand of MVFLG) by “Leonard Shure [,] assistant of A. Schnabel.”
Contains performance indications throughout, in pencil, in Schnabel’s hand.
Notation on verso of cover indicates that Schnabel gave this score to MVFLG.
Includes a concert program affixed to the verso of the cover from the Philharmonic-Symphony Society of New York, program of 20 and 21 February 1936, carries annotations, in pencil and in ink, in the hand of MVFLG, indicating that this particular concert marked “[Rudolf] Serkin’s début in U.S.A.”
Photoreproduced letter of “Baillot fils,” in French, affixed to verso of cover.
Notation on verso of cover indicates that Schnabel gave this score to MVFLG.
Notation on verso of cover indicates that Schnabel gave this score to MVFLG.
Notation on verso of cover indicates that this score was given by Schnabel to MVFLG.
Holograph correspondence to Elinor Nef.
Contains holograph annotations (“Part One”).
Contains holograph annotations (“Part Two”).
Published article from unidentified publication (Edinburgh Festival program?).
Emendations appear throughout in the hand of MVFLG; a small note in her hand is also included.
Published article (newspaper clipping) from the
Published article from the
Contains emendations in blue and black inks in the hand of MVFLG. The original typescript is dated 1961; a handwritten note (in black ink, in the hand of MVFLG) dated 1996, was subsequently added to the typescript.
Entirely in MVFLG’s hand.
Libretto in Italian and English.
Contains annotations throughout, in pencil and in blue, black, and green inks, in the hand of MVFLG.
Verso of title page carries a dedication in Schnabel’s hand: “To M.V., / recommending the two lines: good / music and strong resistance – / for productive cooperation. / A.S. / N.Y.C. January 29, 1942”. Contains annotations throughout, in pencil, in the hand of MVFLG.
Contains annotations throughout, in pencil and in black ink, and one inlaid note, in black ink, in the hand of MVFLG.
Title page carries a dedication in Schnabel’s hand: “To Mary Virginia / A.S. / February 1935”.
Carries a dedication in Schnabel’s hand: “A.S. / 17.IV.1936 / Many happy returns!!!” Enclosed note, in blue ink, in the hand of MVFLG, reads: “This book was / given me by A.S. / on his birthday. / He was leaving / for Europe! / M.V.F.”
Contains annotations on inside cover page, in black ink, in the hand of MVFLG.
Photographer: O.E. Nelson.
Photographer: O.E. Nelson.
Photographer: O.E. Nelson.
Photographer not identified.
Photographer not identified.
Photographer not identified.
Photograph reprinted “courtesy of the Chicago Sun.”
Photographer: Gerti Deutsch.
Photographer not identified.