Loeb Music Library

We’ve added a number of scores to our collection of Digital Scores and Libretti, including this set of late 18th and early 19th century operas:

Johann Christian Bach

Amadis des Gaules: tragedie lyrique de Quinault reduite en trois actes … Représentée pour la premiere fois au théatre de l’Académie royale de musique le quinze decembre 1779. Mise en musique par Jean Chretien Bach. Paris.: Sieber, [1780?].
Merritt Room Mus 627.3.604, RISM A/I, B 167

Johann Christian Bach’s only French tragédie lyrique was premiered by the Académie Royale de Musique on December 14, 1779, to virtually universal distaste. As Friedrich Melchior Grimm wrote in an issue of the Correspondance littéraire, a journal covering the cultural events of Paris,

The Amadis of Mr. Bach…appeared for the first time this Tuesday the 14th and has not fulfilled our expectations….while it’s always good enough, it’s never more, and one cannot hide that, in this work at least, the whole of the composition lacks heat and effect. The Gluckists found it had neither the originality of Gluck, nor his sublime élan; the Piccinists, that his song had neither the charm nor the variety of melody of Piccinni.¹

Luigi Cherubini

Lodoïska : opéra en 3 actes / paroles de Filette Loraux ; musique de Cherubini ; partition de piano et chant. Paris : M. Schlesinger, [1837?].
Merritt Room Mus 637.1.627.5

The first French edition of the vocal score.

Lodoïska, which premiered at the Théâtre Feydeau on July 18, 1791, was a great success. Based on an episode from the popular novel Les amours du chevalier de Faublas, Lodoïska is notable not only for its music but also for its spectacle: the third act ends as a troop of Tatar soldiers burn the castle in which Lodoïska has been imprisoned by the villain Dourlinski.

Medea : Oper in drei Akten / Musik von L. Cherubini. Vollständiger Klavierauszug. Leipzig, Breitkopf & Härtel [1855?].
Merritt Room Mus 637.1.643.3

A vocal score, in German and French, of the opéra comique Médée, premiered at the Théâtre Feydeau, 13 March 1797. While the opera was not especially popular in France, it was given multiple German-language revivals in Berlin, Vienna, and other cities. This edition, though it dates from around 1855, does not include the recitative settings of the dialogue composed by Franz Paul Lachner for the 1855 Frankfurt production. (It may be worth noting that its extended passages of dialogue, not its subject, cause Médée to be classified as an opéra comique.)

Anacréon, ou, L’amour fugitive : opéra ballet en deux actes / par le C.R. Mendouze ; mis en musique par Chérubini. A Paris : Au magasin de musique dirigé par MMrs. Chérubini, Méhul, Kreutzer, Rode N. Isouard et Boieldieu rue de la Loi, no. 268 vis-à-vis celle Ménars ; A Lyon : chez Garnier, Place de la Comédie no. 18, [1803].
Merritt Room Mus 637.1.602, RISM A/I, CC 2028 I, 79

A full score of Cherubini’s first, and unsuccessful, opéra-ballet, premiered at the Opéra on October 4, 1803. While the opera itself is rarely performed (the first revival didn’t occur until 1971), the overture – borrowed from his cantata Amphion – remains a popular concert piece.

-Kerry Masteller

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1. See Friedrich Melchior Grimm, Correspondance, littéraire, philosophique et critique par Grimm, Diderot, Raynal, Meister, etc…., (Paris, Garnier frères, 1880), 12:350.

The latest release of Harvard’s Page Delivery Service (PDS) – the system through which we share our digital scores with the world – is live, and there are a few enhancements to share with you.

We spend a lot of time writing a structural outline for every score we digitize, to make it easier to find works, movements, scenes, and even single arias. While we’ll keep adding that full indexing, it’s now possible to navigate using thumbnail images of each page, as well: when you’re looking at a digitized book or score, click “Expand All,” then “Show Thumbnails” in the left-side navigation frame. This might be an interesting way to get a simple visual overview of a work’s structure, and I have to admit that for some scores, it’s just fun; take a look at the thumbnails for this copy of Debussy’s La Boîte à Joujoux: Ballet pour Enfants, and I think you’ll see what I mean.

The next addition is a “Cite this Resource” button: click this to get descriptions and persistent links for both the entire score and the single page you’re looking at. These aren’t perfectly-formatted citations, but they gather a lot of the information you’ll need in a bibliography or caption. Here’s a screenshot, using a page from La Boîte à Joujoux as an example:

Screenshot: PDS "Cite This Resource" Tool (click to enlarge)

And finally, the full print-to-PDF option is back! Requests for 10 or fewer pages are delivered in real time; if you request more than 10 pages, you’ll be sent a link to the PDF once it’s been processed (those links remain available for 7 days).

Ready to start exploring? Digital Scores and Libretti is, of course, my favorite, but check out other Digital Collections of Harvard College Library and Web-Accessible Collections at Harvard University for photographs, pamphlets, manuscripts, books, maps, and other rare materials ranging from Digital Papyri to Latin American Pamphlets.

- Kerry Masteller

Our project to digitize first and early editions of Verdi continues apace, with works selected from two of the library’s special collections of 18th and 19th century scores, the Packard Humanities Institute Collection and the Ruth Neils and John M. Ward Collection of Opera Scores. These five operas have been recently added to our collection of Digital Scores and Libretti:

Erminia Frezzolini / Charles Vogt (1855)
Image courtesy
Bibliothèque nationale de France

• I Lombardi alla prima crociata: dramma lirico in quattro atti di Temistocle Solera; riduzione per canto con accompagnamento di pianoforte dei maestri L. Truzzi e P. Tonassi. Milano, G. Ricordi [1843?]. Merritt Mus 857.1.690.5 PHI

  Hopkinson 40A(a): though not dated, this first complete edition was probably printed in June of 1843. The hugely successful I Lombardi premiered at La Scala on February 11, 1843, with Erminia Frezzolini in the prima donna role of Giselda.

• Ernani: dramma lirico in quattro parti di Francesco Maria Piave; posto in musica da Giuseppe Verdi; riduzione per canto con accompagnamento di pianoforte del maestro L. Truzzi. Milano: Tito di Gio. Ricordi, [1844]. Mus 857.1.504.5

  Hopkinson 41A(c): a variant of the first complete edition, advertised for publication by Ricordi in August of 1844. The first of Verdi’s operas to premiere at a house other than La Scala, Ernani opened at La Fenice on March 9th, 1844.

• I due Foscari: melodramma lirico di Francesco Maria Piave; posto in musica da Giuseppe Verdi; riduzione per canto con accompagnamento di pianoforte di L. Truzzi. Milano: Dall’I. R. Stabilimento nazionale privilegiato di Giovanni Ricordi, [1845]. Merritt Mus 857.1.536.3 PHI

  Hopkinson 42B(a): the first complete edition of the opera, premiered November 3, 1844, at the Teatro Argentina. Censors rejected Verdi’s original proposal for his first Roman premiere, an opera on the life of Lorenzino de Medici. He substituted instead I due Foscari, with a libretto by Piave based on Byron’s The Two Foscari, a subject which itself had been turned down by La Fenice, in part for its unflattering portrayal of the Venetian Republic.

Giuseppe Verdi. Title page, Giovanna d’Arco. Mus 857.1.540.5

• Giovanna d’Arco: dramma lirico di Temistocle Solera; posto in musica dal maestro cav. Giuseppe Verdi; riduzione par canto con accompagnamento di pianoforte; completa. Milano: Tito di Gio. Ricordi, [1846?]. Mus 857.1.540.5

  Hopkinson 43A(c): The last of Verdi’s five operas composed for Milan’s La Scala, premiered February 15, 1845. A variant of the first complete edition.

• Il corsaro: melodramma tragico di F.M. Piave; musica di Giuseppe Verdi; riduzione per canto con accompto. di piano forte di E. Muzio. Milano: F. Lucca; Londra: Addison e Hodson, [1848?]. Mus 857.1.464

  Hopkinson 49A(e), a variant of the first complete edition. Disputes over the rights to Giovanna d’Arco led Verdi to avoid productions at La Scala for over twenty years, and to publish his next three operas with Lucca, rather than Ricordi. Il Corsaro, which premiered at the Teatro Grande in Trieste on October 25, 1848, was the last work Verdi wrote while under contract to Lucca, and by all accounts it was not a success. One life-and-works article published in 1856, after several revivals, calls the opera “a solemn failure” (Giuseppe Verdi, The Musical World, 34:84 (Nov 29, 1856), p. 758).

For further reference, see:

Hopkinson, Cecil. A Bibliography of the Works of Giuseppe Verdi, 1813-1901. New York: Broude Brothers, 1973-1978.

Loewenberg, Alfred. Annals of Opera, 1597-1940. 3rd ed. Totowa, N.J.: Rowman and Littlefield, 1978.

-Kerry Masteller

In this week’s showcase of newly-digitized scores, I’ve selected three first editions of Mozart works:

Grande sonate : arrangée pour le clavecin ou piano forte avec accompagnement d’un violon obligé : oeuvre 21 tiré d’un trio de W.A. Mozart (À Vienne: Artaria, [1792]), RISM M and MM 6299.

The first edition of the earliest arrangement, for piano with violin obligato, of the Divertimento for violin, viola and violoncello in E-flat major, K. 563. The autograph manuscript of K. 563, composed in September, 1788, is lost, giving first editions of the piece particular value for research.

Ariette: [Ein Weib ist das herlichste Ding]: avec variations pour le clavecin ou piano forte. no. [10] par W.A. Mozart (Vienne: Artaria, [1791]), RISM M7096.

The first edition, first issue of K. 613, Variationen über das Lied Ein Weib ist das herrlichste Ding. Between 1789 and 1795, Benedikt Schack and Franz Xaver Gerl set seven libretti by Emanuel Schickaneder for performance at the Theater auf der Weiden in Vienna. Mozart took the theme for this set of variations from Die verdeckten Sachen (September, 1789), the second of these seven Singspiels featuring the comic character Anton.¹

Sonate pour le forte-piano, ou clavecin avec accompagnement d’un violon composé par Mr. Wolf. Amad. Mozart (Vienne: Hoffmeister, [1786]), RISM M6543.

The first edition, first issue of the Sonata for violin and piano in E-flat major, K. 481; the piano part is printed, while the violin part is manuscript, in an 18th-century copyist’s hand.

These scores join almost sixty other Mozart manuscripts and early editions already in the library’s collection of Digital Scores and Libretti. Later this month, we’ll be returning to opera, with vocal scores by J.C. Bach, Busoni, Cherubini, Verdi, and Zemlinksy.

-Kerry Masteller

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1. Peter Branscombe. Dumme Gärtner aus dem Gebirge, Der. The New Grove Dictionary of Opera. Ed. Stanley Sadie. Grove Music Online. Oxford Music Online. 2 Nov. 2010. (Access restricted to Harvard affiliates)

A new finding aid from the Archive of World Music provides the opportunity to explore and listen to music and sung poetry from northeastern Iran.

The Stephen Blum Collection of Music from Iranian Khorāsān at Harvard University: original ethnographic sound recordings, 1968-2006 contains audio from ethnomusicological fieldwork conducted in the northern part of Iranian Khorāsān. Included are about 50 hours of field recordings made in 1968-1969 and 1972, with an emphasis on sung poetry in three languages: Persian (Farsi), Khorasani Turkish (Torki), and Kurmanji Kurdish. Musical genres in the collection include both lyric songs (chārbeiti, ghazal, and gharibi) and narrative pieces (naqqāli, dāstān, and others), performed as solos or accompanied on instruments such as the ney, a kind of flute, the kamānche, and the dotār, both types of lutes. The performers are the subjects of Blum’s Ph.D. dissertation, Musics in Contact: The Cultivation of Oral Repertoires in Meshhed, Iran.

In this representative recording from the collection, made in the city of Mashhad in 1969, the naqqāl Heidari – a solo singer – performs an excerpt from Firdawsī’s 11th century verse epic, Shāhnāmah, the Book of Kings: Haft khwān-e Rustam (Seven exploits of Rostam). The hero Rostam, accompanied by his horse Rakhsh, battles monsters, demons, sorcerers, and temptation, in order to release the king Kai Kavus and his army from captivity.

Dr. Blum has been deeply engaged in the scholarly exploration of Iranian musical culture since the late 1960s, and he completed his doctoral studies under the direction of Bruno Nettl, a leading ethnomusicologist. Blum has also been instrumental in the field, not only with his scholarly work but as the founder of the ethnomusicology concentration at the City University of New York Graduate Center, where he has taught since 1987. Among his many publications are chapters on Central Asia and Iran in The New Grove Dictionary of Music and Musicians and The Garland Encyclopedia of World Music.

Following the Revolution of 1979, Dr. Blum was unable to return to Iran until 1995, when he donated copies of his earlier recordings to the Ministry of Culture and Islamic Guidance and made additional recordings in Khorāsān as well as in the city of Qazvin, northwest of Tehran. He began to make more frequent visits in 2006, and remains in close contact with Iranian students and colleagues. Recordings from these visits consist largely of conversations, with occasional performances, which are being digitized for future inclusion in the finding aid. The collection also includes notebooks and printed collections of verses intended for singing, along with a street guide to the city of Mashhad.

Earlier this fall, Dr. Blum visited Prof. Richard K. Wolf’s seminar on classical Iranian music and its relationship to poetry and narrative in vernacular traditions, and used performances from the collection to illustrate these relationships.

The finding aid to The Stephen Blum Collection is part of the OASIS catalog, Harvard’s Online Archival Search Information System. The reel-to-reel tapes from the collection have been digitized, and audio files of the recordings are available through the finding aid to anyone, anywhere in the world.

- Donna Guerra and Kerry Masteller

As we all emerge from the first busy weeks of the semester and go looking for music to play, perhaps it’s a good time to showcase some of the latest additions to our collection of Digital Scores and Libretti.

First, two early editions of works by Johann Sebastian Bach:

• A 19th-century French edition of the Goldberg Variations, Trente variations fuguées pour clavecin ou pianoforte (Paris: Richault, [182-?]).
• The first edition of the vocal score of BWV 234: Messe, no. 1 in A: für vier Singstimmen mit Orchester Begleitung komponirt von Joh. Seb. Bach; Clavierauszug von X. Gleichauf (Bonn: N. Simrock, [1831 or 32]).

Piano music and songs by Franz Schubert:

The Packard Humanities Institute Music Collection, on deposit at the Music Library, includes the world’s largest collection of Schubert first editions outside of Vienna. To date, we’ve digitized 150 early Schubert editions from the Packard Collection and the library’s other holdings; this month we offer a selection of piano music and songs: walzes and dance music, a piano reduction of the overture to Die Zauberharfe, and settings of Müller, Goethe, Schiller, and others.

Piano Music

• Walzer, Ländler und Ecossaisen für das Piano-Forte: 18tes Werk (Wien, A. Diabelli [1823?]).
• Galoppe et ecossaises pour le pianoforte, oeuvre 49 (Vienne: A. Diabelli, [1825?]).
• Valses sentimentales: pour le piano-forte: oeuv. 50 (Vienne: A. Diabelli, [1825?]).
• Wiener Damen-Ländler, pour le piano-forte, oeuv. 67 (Vienne: A. Diabelli, [1826]).
• Ouvertüre zu Rosamunde, op. 26. Arrang. von F. X. Chotek ([Wien: A. Diabelli, 1839?]).

Songs

• Die schöne Müllerin: ein Cyclus von Liedern Gedichte von Wilhelm Müller; in Musik gesetzt für eine Singstimme mit Pianoforte begleitung dem Carl Freyherrn von Schönstein gewidmet von Franz Schubert; 25 Werk (Wien: Sauer & Leidesdorf, [1824]).
• Willkommen und Abschied Gedicht von Goethe; An die Leyer: (nach Anacreon); Im Haine Gedichte von Bruchmann: in Musik gesetzt für eine Singstimme mit Begleitung des Pianoforte und gewidmet Herrn Carl Pinterics von seinem Freunde Franz Schubert; 56tes Werk (Wien: bey A. Pennauer, [1826]).
• Alinde; An die Laute; Zur guten Nacht: für eine Singstimme mit Begleitung des Pianoforte: 81tes werk. In Musik gesetzt von Franz Schubert; Gedichte von Fried. Rochlitz (Wien: T. Haslinger, [1827]).
• Der Zwerg und Wehmuth: zwey Gedichte in Musik gesetzt für eine Singstimme mit Begleitung des Pianoforte, 22. Werk (Wien, Diabelli [1830?]).
• Ein Fräulein schaut vom hohen Thurm: 126tes Werk. Ballade von J. Kenner; in Musik gesetzt für eine Singstimme mit Begleitung des Pianoforte von Franz Schubert (Wien: J. Czerny, [1830]).
• Schäfers Klagelied; Heidenröslein; Jägers Abendlied; Meeres Stille: für eine Singstimme mit Begleitung des Pianoforte von Goethe; [Musik] von Franz Schubert (Wien: Cappi und Diabelli, [1821]).
• Der Unglückliche Gedicht von Caroline Pichler, geb. v. Greiner. Die Hoffnung; Der Jüngling am Bache Gedichte von Fried. v. Schiller; in Musick gesetzt für eine Singstimme mit Begleitung des Pianoforte, op. 87; von Franz Schubert (Wien: A. Pennauer, [1827]).

Incidentally, the staff of Harvard College Library Imaging Services are responsible for the fantastic photography and presentation of these scores. The Digital Imaging Lab recently celebrated its 10th anniversary; read more about its history – and its future – in this HCL News article.

- Kerry Masteller

One of the most interesting parts of my job is the chance to see all of the works that we add to our collection of Digital Scores and Libretti. These are some of the latest additions.

First, a heavily-annotated score of Gustav Mahler’s 3. Symphonie (Wien: J. Weinberger, [1898]), which may reflect revisions made by the composer.

Gaetano Donizetti’s three-act melodrama L’assedio di Calais (Milano: G. Ricordi, [1854?]) is an interesting reflection of the international business of composition for the opera: although it premiered in 1836 at the Teatro S Carlo in Naples, the set of dances in the third act was intended to appeal to the audiences of Paris and lead to a contract with the Paris Opéra.

Two keyboard works from members of the Bach family:

• Carl Philipp Emanuel Bach. Clavier-Sonaten nebst einigen Rondos fürs Forte-Piano für Kenner und Liebhaber. Dritte Sammlung. Leipzig: Im Verlage des Autors, 1781. First edition, RISM A/I, B 88
• Johann Christian Bach. Fuge für das Pianoforte oder die Orgel über die Buchstaben seines Namens, BACH. Leipzig: Bureau de musique [de] C.F. Peters, [181-?].

A first edition of the parts for Wolfgang Amadeus Mozart’s Piano Quartet, K. 493: Quartetto per il clavicembalo o forte piano con l’accompagnamento d’un violino, viola, e violoncello : opera 13 (Vienna: Artaria, [1787]), RISM A/I, M 6325.

Alexander Zemlinsky’s one-act opera Der Zwerg (Wien: Universal-Edition, c1921), based on Oscar Wilde’s short story The Birthday of the Infanta.

And finally, our project to digitize the operas of Giuseppe Verdi continues, with early vocal scores of Aïda, Alzira, and Nabucco, the second version of La Traviata, and a French edition of Falstaff:

• Aïda : opera in quattro atti (Milano: Ricordi, [1872?]). Hopkinson, 62A(a)
• Alzira : tragedia lirica, divisa in prologo e due atti (Milano: G. Ricordi, [1846]). Hopkinson, 44A(a)
• Falstaff: comédie lyrique en trois actes de Arrigo Boïto (Paris : Ricordi, c1894). First edition, French text variant
• Nabucodonosor : drama lirico in quatro atti (Paris : Schonenberger … Boulevart Poissoniere No. 28, [1842?]). Hopkinson, 39A(f)
• La traviata (Milano : Tito di Gio. Ricordi, [1855?]). Second version, Hopkinson, 55B(a)

Enjoy! Coming up soon, we’ll have more early Bach editions, and a selection of Schubert songs and piano music.

- Kerry Masteller

The grass is growing along the edges of the paths in Harvard Yard; the banners are hung in Tercentenary Theatre; seniors are making last rounds of their favorite haunts in Cambridge: it’s time for Commencement and class reunions.

Anyone who works in a college or university music library or archives is used to requests from alumni for copies of their favorite college songs; while for years we faxed blurry copies of “Fair Harvard” all over the world, we’re very glad to say copies of both the 1922 edition of the Glee Club’s Harvard Song Book and the 1909 edition of A Book of Radcliffe College Songs are now available online.

The 1922 Harvard Song Book, like many other university anthologies, is a combination of songs specific to the University, and especially to sporting events (“Soldiers Field,” “Poor Old Yale,” and others), with songs from Glee Club concerts and revues (“The Skye Boat Song,” “Good Night, Ladies,” “Jingle Bells”). Certainly, there are many other places to get a copy of “Gaudeamus Igitur,” but with this volume and a cadre of willing singers, all you really need are two football teams and an arena to recreate your own Harvard-Yale game.

The 1909 A Book of Radcliffe College Songs is a new addition to our digital library; its editors collected not only songs about the college, but some of the standard choral repertoire being performed by the students’ music clubs and songs composed for Radcliffe’s vibrant tradition of amateur theatricals. Later editions of the college song book – not yet digitized – reveal intriguing changes in the music that was most associated with the school by its own students: in the 1916 songbook, for example, most of the choral works were replaced by Radcliffe songs, and a new section of rally lyrics provides evidence for the popularity of basketball at women’s colleges.

Whether you’re graduating and leaving Cambridge, or returning to Harvard after a long time away, we hope that these collections will remind you of your own college experiences.

For further exploration:

• While it’s impossible to fully recreate online the print (and image, and object) collections of the Harvard University Archives and the Radcliffe College Archives at the Schlesinger Library, The Harvard Radcliffe Online Historical Reference Shelf is a fantastic starting point for research about the University.
• For those of you searching for more music, HOLLIS includes a selection of digital facsimiles of other 19th- and early 20th-century student songbooks…even Yale’s.

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* The opening lines of Radcliffe’s 1911 Class Song, written by Alice Hunnewell.

- Kerry Masteller

Just in time for the anniversary of the first performance of Debussy’s opera Pelléas et Mélisande (premiered April 30, 1902), here’s a look at the 1907 revised edition of the vocal score. Debussy made numerous changes to the score over his lifetime: the interludes in the 1907 version are longer, to accomodate scene changes; and the alternate tenor line for Pelléas, notated in red ink overtop of the original baritone line, was taken from one of Debussy’s manuscript revisions of the opera.

This copy belonged to the singer Antonin Trantoul (1887-1966); the annotations in red and blue pencil throughout the score may be his. Tipped-in correspondence from the publisher, A. Durand & fils, reveals a bit more of the performance history of the tenor version, and hints at Trantoul’s search for that edition of the opera.

The complete vocal score, as well as many other works by Debussy, are part of our collection of Digital Scores and Libretti.

- Kerry Masteller

A new finding aid from the Archive of World Music provides the opportunity to explore and listen to the music of the Yakut people. It features freely available online audio content with the download of RealPlayer.

The Eduard Alekseyev Fieldwork Collection of the Musical Culture of Yakutia, 1969 – 1990 contains audio and video that documents traditional religious and ritual cultural expressions. Sakha (Yakutia) is the largest sub-national entity in the world. It is a circumpolar region, half of which lies above the Arctic Circle. From the 1960s through the 1980s, publication of materials about the rituals of indigenous cultures was suppressed, due to the Soviet policy of the times. The Yakut language is part of the northern Turkic linguistic family, and is considered a “vulnerable” language, according to the UNESCO Interactive Atlas of the World’s Languages in Danger.

Eduard Yefimovich Alekseyev (b. 1937, Yakutia) resides in Boston and is a well-known ethnomusicologist and researcher of traditional Yakut music. He is the author of more than 100 publications in Russian, including such books as A Study of the Origins of Modality with Regard to Yakut Folk Songs (1976) and The Pitch Nature of Primitive Singing (1986).  Alekseyev worked very closely with Ghilyana Dorjieva (another scholar of indigenous musical culture in Russia, in particular, of the Kalmyk people) to identify and describe the materials in the collection.

The collection includes original field recordings made by Alekseyev between 1969 and 1990; most were created in a fieldwork setting, but some were made during concerts, or at festival events of Ukrainian people in Kiev and Crimean Tatars in Simferopol. The main genres found in the collection are the olonkho (epic song and recitative), ohuokai (round dance), shamanic ritual and mystery performances. Frequently heard musical instruments are the khomus (jaw or jew’s harp), the diungiur (shaman’s drum), and the bayan (button accordion).

In this video, Eduard Alekseyev speaks about the olonkho genre and its transformative purpose as well as its change as a genre over time.

Audio Preservation Studio engineer Bruce Gordon has worked closely with Alekseyev to digitally preserve the polyester and acetate audio reel tapes in the collection — the end result of their work is the streaming content available in the finding aid, such as this recording of Vasiliy Osipovich Karataev performing the “Song of the Horse” from the olonkho “Erbekhtei Bergen.”

- Donna Guerra