Overview of the Holdings:

All manuscripts that were in the possession of the composer in 1979, as well as works composed after 1979 that stayed in the possession of the composer. Generally speaking, Gottfried von Einem only gave his manuscripts to commissioning parties or to dedicatees hesitatingly and in exceptional cases. He never gave manuscripts to his publishers.

Sketches and drafts

He destroyed the great bulk of his own sketches and drafts.

Corrected and working copies of his works.

Texts from his vocal works, especially working copies of his opera libretti.

Libretti that he adapted or wrote, but did not set to music.

Essays and similar literary publications.

Typed copies of lectures.

Publishing contracts

Correspondence sent to him. (There are only a few exceptional copied or typed examples of his own correspondence, which he predominately hand-wrote).

Correspondence from him, that came to be again in his possession and which he then left to the Archive (a still small holding, which we are working on enlarging).

Critiques (they were never systematically collected by Einem, so this holding is somewhat arbitrarily formed)

Concert and opera programs as well as (very few) posters from performances of his works (the same things can be said about this holding as were said about the Critiques).

Recordings of his works (also not systematically collected by the composer).

Cassettes on which Gottfried von Einem speaks, with biographical observations.

Photographs (principally of a private and biographical nature, but also some rehearsal photos related to his works).

Pocket Calendar and Diary-like notes (the last of which dates from his youth; generally speaking, fragmentary).

Documents, Diplomas, and other Certificates of honor bestowed upon the composer (Notes - foreign, old, and new works - and books, especially those dealing with music, literature, history, contemporary history, and art).