{"value"=>"<p>Scores are in two divisions: by Gruenberg and by others. Gruenberg’s scores are sub-divided into two segments, those composed under his own name and those under his pseudonym, George Edwards (which he used when he wrote music he considered “beneath” him). Under Gruenberg’s name, scores are further sub-divided by genre: chamber, dramatic, orchestral, piano and vocal works. Items of note include different edits of <span class=\"title\">Sonata No. 3 for Violin and Piano</span>, Op. 52 (1965) made after Gruenberg’s death; scores and parts for <span class=\"title\">The Emperor Jones</span>, Op. 36 (1931) and <span class=\"title\">Jack and the Beanstalk</span>, Op. 35 (1930) used in performances; a set of the published <span class=\"title\">Jazz Mask</span> series of classical pieces set by Gruenberg in a jazz style, and Gruenberg’s last composition, <span class=\"title\">Pages from Rabelais</span>, Op. 78 (1963). One unpublished addition to this series is in manuscript form, as is a late unpublished piece, <span class=\"title\">Six Winter Songs</span>, Op. 77 (1963).</p> <p>Among the pieces under the George Edwards pseudonym are the score for a proposed musical comedy, <span class=\"title\">Hello, Tommy!</span> (ca. 1924) and a score and sketch for <span class=\"title\">River Born</span> (1938), a piece for voice and piano. Scores by others include music by J.S. Bach, Ferruccio Busoni, Franz Liszt, and Arnold Schoenberg. Some of the Busoni and Liszt scores are signed by Busoni, the score for Schoenberg’s <span class=\"title\">Pierrot Lunaire</span> (1912) contains Gruenberg’s notes and markings, and a boxed edition of Schoenberg’s <span class=\"title\">Moderne Psalmen</span>, Op. 50c (1950) is signed by Gertrude Schoenberg.</p>"}