THE UNIVERSITY OF ROCHESTER LIBRARY BULLETIN

ing the composer’s lifetime.

The holograph scores received from Professor Mann include: Dop-
per's Septet for Piano and Wind Instruments; Marcus's Suite fiir zwei
Klaviere, Paulsen's Priiludiurn, Choral und Fuge fiir Flb'te, Viola
d’arnore und Cembalo and his Song with Instruments; Stoehr’s Suite,
Opus 87, and Gieseking's Quintet. Some interesting history surrounds
each work. Cornelis Dopper, an eminent Dutch composer and conduc-
tor, was born in 1870 and died in 1939 in Amsterdam where he had
served as assistant conductor of the Concertgebouw Orchestra for
many years. He came to the United States during the 1906 season and
toured as an opera conductor for two years. The score of the septet,
whose piano part had been performed by Professor Mann's mother,
Mme. Edith Weiss-Mann, does not bear a date.

Helmut Paulsen was a composer who flourished during the post-
World War I period and who died before the beginning of World War II.
Although he was not a student of Paul Hindemith, his music was
definitely influenced by him, as was the work of many another Euro-
pean composer of the time. His two autograph scores were presented to
Mme. Weiss-Mann and bear the dates 1932 and 1933, respectively.
Richard Stoehr (1874—1967) was an Austrian theorist and composer
who taught in Vienna until 1938, and among his pupils were Artur Rod-
zinski and Erich Leinsdorf. After arriving in the United States, he taught
for several years at the Curtis Institute of Music in Philadelphia and
finally settled in Vermont. The manuscript of his suite, arranged for
four recorders and piano, bears the Opus number 87 and the date 1942.

Special notice is due the two holographs, one by Marcus and the other
by Gieseking, for they are not only unpublished and otherwise un—
known but have some interesting personal associations with the family
of the donor. Professor Mann's mother, the late Mme. Edith Weiss-
Mann, was an eminent keyboard artist, playing both piano and harpsi-
chord, and teacher, who, before coming to the United States, was active
in Hamburg. lngolf Marcus, later to be known as lngolf Dahl, was born
in 1912. Around 1924 he began to study with Mme. Weiss-Mann and
proved to be an apt and talented pupil, with a penchant for composition
as well as performance. When he was 18, he made his debut as a pianist
in Hamburg in a two-piano recital assisted by his teacher. Already a
budding composer of no mean ability, he wrote his suite for two pianos
for his recital. The date on the holograph is March 27, 1930, for the com-
pletion of the score, while the dedication is to Mme. Weiss-Mann, dated
May 1930, apparently a short time after the premiere performance. In
four movements, Preludio, Fugu, Adagio and Finale, the music is writ-
ten neatly in a youthful hand. So far as Professor Mann knows and we in