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THE NEW YORK WOODWIND QUINTET:

A CONTINUING LEGACY

DOCUMENT

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Musical Arts in the Graduate School of

The Ohio State University

Amy L. Likar. B.M.. M. Mus.

*****

The Ohio State University 1999

Dissertation Committee:

Professor Katherine Borst Jones. Adviser Approved by

Professor Christopher Weak Adfmer Professor Charles Atkinson ' ~ School o f Music UMI Number: 9919885

This microform edition is protected against unauthorized copying under Title 17, United States Code.

UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright

Amy L. Likar

1999 ABSTRACT

The New York Woodwind Quintet, one of America’s foremost chamber music ensembles, has been in existence since 1947. It is responsible for increasing the repertoire and prominence of woodwind quintets throughout the United States and the world including many premieres and several commissions of new works for quintet. In addition, it revived the older repertory for the medium. The Quintet is one of the first American wind chamber groups to enjoy a worldwide reputation.

This history shows how the New York Woodwind Quintet has greatly influenced the musical repertoire and popularity of woodwind quintets as a viable chamber ensemble.

Oral histories were conducted with former and current quintet members. In addition, members’ personal programs and clipping files were used for further information on repertoire and premiere dates. Other research materials were available through the

Samuel Baron Collection at the Library of Congress, and clipping and program files at the

New York Public Library. The discography and filmography were researched using

OCLC, RILN abstracts and the Baron Collection. The Library of Congress concert listings were found through the Library of Congress Catalog. Member biographies were found through members themselves, university web sites, orchestra archivists, or journal articles. The history of the New York Woodwind Quintet includes many performances at the Library of Congress, and world tours to South America, Europe, the Far East, and the

Soviet Union. The history also includes numerous tours around the United States, children’s concerts for Young Audiences, Inc.; collaborations with many well-known composers and numerous recordings; residencies at various universities and colleges, including Summer Evenings o f Music at the University of Wisconsin at Milwaukee, a continuing summer residency at Yale University’s Norfolk Festival and a current residency at the Juilliard School.

in Dedicated to Jack

IV ACKNOWLEDGMENTS

I wish to sincerely thank my adviser. Katherine Borst Jones and my committee members, Christopher Weak, and Charles Atkinson and Robert Sorton for their support throughout my career at The Ohio State University. As a Presidential FeUow and a

Graduate Alumni Student Research Award recipient. I particularly want to thank not only my committee but also Thomas Heck, Patricia Flowers and Don Gibson for their roles in my attaining those awards. I also want to thank Dr. Richard Soule from the University of

Nevada Las Vegas for writing an external evaluation letter for me for the Presidential

Fellowship Competition. I must also thank the Zeta Beta Alumni Chapter of Delta

Omicron International Music Fraternity for its support and financial assistance through the

Zeta Beta Memorial Scholarship Fund at The Ohio State University.

This project would not exist if it were not for the cooperation of the New York

Woodwind Quintet: David Glazer, Jerome Roth, Bernard Garfield, Arthur Weisberg,

Ronald Roseman. Ralph Froelich, Donald MacCourt. William Purvis. Charles Neidich and

Carol Wincenc. These fabulous musicians generously and graciously let me into their lives and let me interview them for this project. I cannot thank them enough. Also, many thanks to Brenda Schuman-Post for giving me the student’s perspective of the New York

Woodwind Quintet I also must acknowledge the presence of the late Samuel Baron throughout this project. Fondly called by his colleagues. ‘Mr. Quintet,' Sam Baron had an enormous influence on the longevity of the group and the integrity with which they worked. I express sincere gratitude and appreciation to Carol Baron for her support and for granting me permission to access the Samuel Baron Collection at the Library of Congress. Those journals gave me a true sense of the camaraderie of the group during those early years and o f the Quintet’s lasting influence on woodwind players throughout the world.

I wish to thank Nancy Tofif for her research and editing expertise and her invaluable assistance to me in helping me put this project together. I also want to thank

Wilda Heiss. Archivist from the Library of Congress, for all of her assistance in helping me gain access to the Baron Collection at the Library of Congress and her help in researching

New York Woodwind Quintet Library of Congress Performances. I want to thank

Philadelphia Orchestra Archivist JoAnn Barry, Los Angeles Philharmonic Archivist Steve

LaCoste. and Boston Symphony Archivist Bridget Carr for their assistance in confirming dates for member biographies. Many thanks to Barbara Conable for her support throughout this project. I also want to thank Stephanie Motts for her expertise in world history. I must also thank Professor Stanley Blostein, Associate Dean of the College of

Social Work. Through a stroke of luck he was placed on my committee for my oral examination. Through a connection of his. I was able to get biographical information on one of the early flutists in the Quintet.

VI I want to thank my quintet, the Cardinal Wind Quintet, Melissa Stevens, Anthony

Lojo, David Oyen and David Nesmith for their outstanding musicianship and support throughout this project.

Many thanks to my femily for their support and encouragement throughout this degree. Finally, I wish to thank my husband Jack Paulus whose patience, love, and support has been incredible throughout this project. I must also thank him for the photo editing and diagram design in Chapter 5.

V ll VITA

February 22, 1968. Bom - Cuyahoga Falls, Ohio

1991...... B.M. Kent State University

1991 to 1992...... English Teacher Swaziland, Southern Africa

1992 to 1994...... Graduate Teaching Associate The Ohio State University

1994...... M.M. The Ohio State University

1994 to present... Adjunct Professor of Flute Ashland University, Ashland, Ohio

1994 to present.... Third Flute/Piccolo, Ashland Symphony, Ashland, Ohio

1995 to 1997 ...... Graduate Teaching Associate The Ohio State University

1998...... Presidential Fellow The Ohio State University

1998...... Graduate Student Alumni Research Award Recipient

1998 to present.... Second Flute, Wheeling Symphony Wheeling, West Virginia

vin FIELDS OF STUDY

Major Field: Music

Studies in: Flute: Katherine Borst Jones

Woodwind Pedagogy and Literature: Christopher Weak

Musicology: Charles Atkinson

Music Education: David Frego

Music Theory: Ann Blombach

IX TABLE OF CONTENTS

Abstract ...... ii

Dedication ...... iv

Acknowledgments ...... v

Vita ...... vüi

List of Diagrams ...... xii

List of Figures ...... xiii

Chapters:

I. The History of the Development of a Woodwind Quintet ...... 1

2. The Establishment of the New York Woodwind Quintet ...... 12 The Formative Years, 1947 to 1951 12 Y oung Audiences ...... 16 Library of Congress ...... 21 Residencies and Teaching ...... 25

3. Domestic and World Tours ...... 31 4. Connections with Composers ...... 55

5. Personnel Changes ...... 65 Member Biographies 1947 to 1999 79

Epilogue ...... 94

Appendices:

A. New York Woodwind Quintet Repertoire List ...... 97

B. Selected Discography and Filmography ...... 122

Bibliography ...... 142

XI LIST OF DIAGRAMS

Diagram 1: Chronology of Players 73

XII LIST OF FIGURES

Figure I: New York Woodwind Quintet 1947 74

Figure 2 New York Woodwind Quintet 1948 74

Figure 3: New York Woodwind Quintet 1949 74

Figure 4: New York Woodwind Quintet 1951 75

Figure 5: New York Woodwind Quintet 1951-1957 75

Figure 6: New York Woodwind Quintet Far East Tour 1962 76

Figure 7: New York Woodwind Quintet Soviet Union Tour 1972 76

Figure 8: New York Woodwind Quintet 1974-1980 77

Figure 9; New York Woodwind Quintet 1980-1985 77

Figure 10: New York Woodwind Quintet 1985-1997 78

Figure II: New York Woodwind Quintet 1997-1999 78

XIII CHAPTER 1

THE HISTORY OF THE DEVELOPMENT OF A WOODWIND QUINTET

The New York Woodwind Quintet, one of America’s foremost chamber music ensembles, was inaugurated in 1947. As a leading chamber ensemble, it has been responsible for increasing the repertoire and prominence of woodwind quintets throughout the United States and the world by performing many premieres and several commissions of new works for quintet. In addition, it has revived the older repertory for the medium.

The Quintet is one of the first American wind chamber groups to enjoy a worldwide reputation earned through touring in South America, the Far East. Europe, the Soviet

Union and the United States. Members throughout the years have included musicians of the highest caliber on their respective instruments. Along with prominent chamber groups in the United States such as the Juilliard String Quartet, formed in 1946, the Beaux Ai ts

Trio, formed in 1955 and the Bach Aria Group, formed in 1946 the New York Woodwind

Quintet is one of the longest surviving chamber ensembles in the United States.'

' The New Grove Dictionary of American Music, eds. H. Wiley Hitchcock and Stanley Sadie, vol. I and vol. 2 (London: Macmillan. 1986). The New York Woodwind Quintet’s fifty-two years o f existence span more than a quarter of the history of the woodwind quintet. The efifect the Quintet has had as a medium can best be appreciated when viewed within the context of its predecessors.

The history of woodwind quintet literature and performance starts in the late eighteenth and early nineteenth centuries. The first quintets were written by Giovanni

Giuseppi Cambini ( 1746-1825) and were published between 1812-1822." Other early composers of woodwind quintets were Anton Rosetti (ca. 1746-1792), and Nikolaus

Schmitt (? - ca. 1802).^

By far, the most prominent composer of woodwind quintets during the early nineteenth century was Anton Reicha ( 1770-1836). Reicha wrote twentj -four woodwind quintets under three opus numbers. Opus 88, Opus 91 and Opus 99."’ “Only in the works o f Reicha does the classic era have an extensive and significant body of compositions for the woodwind quintet.”^ Then, as well as now, composers needed performers of their music. Reicha writes of his quintets in his autobiography: “I owe their success to those admirable musicians, Mssrs. Guillou. Vogt. BourfiL Dauprat and Henry whose perfect

^ Miroslav Hosek, The Woodwind Quintet, trans. Colleen G ruban (Grünwald: Bernard BrQchle Edition, 1979) 22.

^ Hosek.

* “Antonine Reicha," The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, vol. 15 (London: Macmillan. 1980).

’ Millard M. Laing. Anton Reicha’s Quintets for Flute. Oboe. Clarinet. Horn and Bassoon, diss.. University of Michigan. 1952 (Ann Arbor: UMI 1952)48. rendition of them at public concerts and private musicales started all Paris talking about them.’"^

Second in importance to the quintets of Reicha are the woodwind quintets of

Franz Danzi ( 1763-1826). Danzi wrote nine woodwind quintets under three opus numbers, three in Opus 56 and six in Opus 67 and 68.^ He was greatly influenced by the

Mannheim orchestra which he joined when he was fifteen and his composition studies with

Abbé Vogler. Other composers of woodwind quintet literature during this period, some of whom were either colleagues or students of Reicha, include Wilhelm Mangold ( 1796-

1875). Martin Joseph Mengal (1784-1851). Georges Onslow (1784-1853). and Julius

Rietz (1812-1877).*

During the middle part of the nineteenth century both the quantity and quality of chamber composition declined.’ This was largely due to the great changes which occurred to the design of wind instruments during the 1830s and 1840s.'“ Towards the end o f the nineteenth century the mechanization of wind instruments stabilized even though refinements and changes to the mechanism continued to occur." An important

" Translation by Samuel Baron, “The Woodwind Quintet: A Symposium, Reicha, Herald of the Quintet,” Woodwind Magazine Nov. 1954: 5. This article is a translation of a quote from Reicha's autobiography.

’ “Franz Danzi,” The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, vol. 5 (London: Macmillan, 1980) 234-236.

* Hosek, 22.

" Nancy Toff The Flute Book (New York: Oxford University Press, 1996) 241.

Anthony Baines, Woodwind Instruments and Their History (New York: Norton, 1962) 315.

" Baines. nineteenth-century woodwind quintet is the Quintet in C Major, Opus 79 of August

Friedrich Klughardt ( 1847-1902).

By the later half of the nineteenth century, different chamber groups existed that championed larger forms o f wind chamber music but also included the woodwind quintet medium. In 1879. the Société de Musique de Chambre pour Instruments à Vent was formed by the French flutist and conductor, Paul Tafi&nel (1844-1908). The society premiered several new works for winds including compositions for woodwind quintet which have become standards in the repertory, such as those by Charles Lefebvre (1843-

1917). Gabriel Pieraé (1863-1937) and the quintet Taflfanel himself wrote in 1878.

Other works performed by the society that included the wind quintet format are the Julius

Rietz (1812-1877) Konzertstttck Opus 31 for woodwind quintet and piano, and Emile

Pessard’s ( 1843-1917) Prélude et Menuet. ‘ ^

Taffanel’s Société de Musique de Chambre pour Instruments à Vent ended in 1893 when Taflfanel was appointed a conductor at the Paris Opera. It was reestablished under the same name in 1895 by oboist. Georges Longy (1868-1930) and clarinetist. Prosper

Mimart. By 1908, French flutist, Philippe Gaubert ( 1879-1941) led the society. ' ' In

David Whitwell. A New History of Wind Music (Evanston: The Instrumentalist Company. 1980) 44.

David Whitwell, The Lonev Club: A Professional Wind Ensemble in Boston. 1900-1917 (Northridge: WINDS, 1988)2-5.

Whitwell. 3.

Claude Dorgeuille. 53. 1919, Gaubert appointed French flutist René Le Roy (1898-1985) as his successor in the

Société de Musique de Chambre pour Instruments à Vent.'*

One of the most influential figures for wind chamber music in both Europe and the

United States was French flutist Georges Barrère (1876-1944) who in 1895 formed the

Société Moderne d’instruments à Vent.’’ A 1911 notice in The Metronome stated the following about Barrère’s group:

This society has proved a stimulus to modem composers, enabling them to realize the expressive qualities, peculiar sonority and special efforts resulting fi’om the combination of flute, oboe, clarinet. French horn and bassoon employed in single or double quintette with or without piano. During the sixteen years of its existence this society has produced no less that 100 new works by 50 different composers and has been subsidized by the Government in recognition of its service to general musical advancement. Colonne. Massenet, Saint-Sains, Widor, d’Indy and Fauré are a few of the many prominent musicians bearing testimony to the unique achievements of this organization.'*

In 1905, Barrère was invited to New York by Damrosch to join the New York

Symphony Orchestra. French flutist Louis Fleury (1878-1926) took over the directorship of the Société Moderne d’instruments à Vent in 1905 and led the group until 1926.

Within months of arriving in the United States. Barrère formed the New York

Symphony Wind Instrument Club with other players of the New York Symphony—flutist

John Roodenburg; oboists Cesare Addimando and Marcel Tabuteau: clarinetists Leon

Dorgeuille.

Philip Bate, “Georges Barrère," The New Grove Dictionary of Music and Musicians, ed. Sadie, vol. 2 (London; Macmillan. 1980) 185-6.

'* Whitwell. 3. Quoting from The Metronome 1911. Leroy and Arthur Christmann; homist Hermann Hand and bassoonist Auguste Mesnard.'^

By 1911, Barrère founded a larger group called the Barrère Ensemble of Wind

Instruments/" In addition to performing original quintet compositions from this period such as those of Lefèbvre, Piemé, and Tafl&neL the ensemble performed new works for winds and piano such as André Caplet’s Quintet for piano, flute, oboe, clarinet, and bassoon and Joseph Hüttel’s (1893-1951) Divertissement grotesque for woodwind quintet and piano/' Other quintet works premiered by the Barrère group include Domenico

Brescia’s Dithvrambic Suite and Nicolai Berezowksy’s (1900-1953) Suite, Opus 11 which was dedicated to Barrère/^ The Barrère Ensemble of Wind Instruments stopped performing sometime in the 1930s/^

In 1931 Barrère began teaching at the Juilliard School and founded their woodwind ensemble program,^'* Barrère also did several transcriptions for woodwind quintet, some of which are included in the G. Schirmer publication of the Juilliard Series of

Music for Wind-Instruments: Twelve Transcriptions for Flute. Oboe. Clarinet. Bassoon and Hom/^ He also transcribed the Antonin Dvorak (1841-1904) “American” String

'■Toff. 15.

Whitwell. 5.

■' Toff. Nancy. Georges Barrère and the Flute in America (New York: New York Flute Club. 1994) 36.

“ Toff, 45-47.

“ Nancy Toff, letter to author, 4 Mar. 1999.

Toff Georges Barrère and the Flute in America (New York: New York Rute Club, 1994) 8.

“ Toff. 73. Quartet in F Major, Opus 96 as well as others still in manuscript form.^* It is important to note that New York Woodwind Quintet flutist. Samuel Baron was a student o f Barrère’s at Juilliard.

Like Barrère, French oboist, Georges Longy, moved to the United States and was principal oboist in the Boston Symphony from 1898 to 1925. In 1900 he founded the

Longy Club and modeled it off of the Société de Musique de Chambre pour Instruments à

Vent which he had been a part of reforming in 1895.^’ In a public announcement of his intention he wrote:

I propose to give a series of public concerts in Boston, at which a number of works especially written for wind instruments will be performed. These will consist of solos, duos, trios, quartets, and the like. Many of the selections will also require the additions of piano, strings, or voice. The public hitherto has had very little opportunity to hear such works performed; and yet the great masters, Bach, HandeL Haydn, Mozart, Beethoven, Schumann, Brahms, and others, wrote highly interesting compositions for these instruments. There is no lack in the number, the variety, or the excellence of the pieces, but the difficulty in organizing a company of artists of homogeneous talent has naturally caused thh form of concert to be of infrequent occurrence. At the present time the array of artists composing the Boston Symphony Orchestra makes possible any desired combination o f instruments, and the obstacles formerly existing have been obviated. The principal instruments which will form the fundamental elements of these concerts will be the flute, the oboe, the clarinet, the horn and the bassoon.^®

TofF. letter to author. 4 Mar. 1999.

Whitwell. 5-6.

Whitwell. 6. Works for woodwind quintet that were performed by the Longy Club include

Alfonso Falconi’s Sextet, Opus 60 for woodwind quintet and piano, the Joseph Holbrooke

(1878-1958) Sextette Opus 33, no. 3 for woodwind quintet and piano, Fritz KaufBnann’s

(1855-1934) Quintet Opus 66, and Ludwig Thuille’s (1861-1907) Sextet, Opus 6 for woodwind quintet and piano as well as several o f the aforementioned works.^’ The

Longy Club existed until 1917.^°

The early part of the Twentieth Century brought new works for woodwind quintet by prominent composers. These works include: Kleine Kammermusik. Opus 24, no. 2

(1922) by Paul Hindemith ( 1895-1963). Kvintet. Opus 43 ( 1922) by Carl Nielsen ( 1865-

1931), Wind Quintet, Opus 26 (1924) by Arnold Schônberg (1874-1951), Mlàdf (19241 for woodwind quintet and bass clarinet by Leo§ Janacek (1854-1928) and La Cheminée du

Roi René. Opus 205 (1939) by Darius Milhaud (1892-1974).

After World War II there was renewed interest in the United States for chamber music, along with a growth in professional student and amateur chamber groups such as woodwind quintets, string quartets, and brass quintets.^' Increased numbers of performing groups gave rise to more compositions written for the genre as well as the resurrection of works previously written.

” Whitwell, 193-196.

” Whitwell.

Samuel Baron. “‘Reminiscences of a Golden Age: New York City (1946-1951),” The Instrumentalist. Dec. 1987: 19-24. In the United States, several woodwind quintets were formed during this post-war era. The New Art Wind Quintet was formed in 1947, the Westwood Wind Quintet in

1959, Soni Ventorum in 1961 and the Dorian Woodwind Quintet in 1961 to name a few of the many. Other woodwind quintets were formed by wind players in orchestras such as the Philadelphia Woodwind Quintet which was formed in 1950.^^ Several quintets were also formed in Europe. Some o f the more prominent ones include the Southwest German

Radio Symphony Woodwind Quintet of Baden-Baden, formed in 1947. and the Danzi

Quintet o f Amsterdam which was formed in 1956."

The growth of public-school music programs, particularly those in instrumental music in the post-World War II era played a role in the revival o f chamber music and wind playing.^** Throughout the 1950s the New York Woodwind Quintet performed school concerts tor Young Audiences, Inc. With the popularity of band programs and the large number of wind players, music educators needed a professional model of wind playing for their students and the New York Woodwind Quintet filled that need.

Another important development for the medium and the genre was the formation of woodwind quintets in university music departments. These groups provided a performing outlet for faculty, a recruiting tool for the university by performing concerts in the public schools, and a model for student groups formed at the school. Today several

^^Others include ensembles formed by members of the Boston Symphony and the Detroit Symphony.

Miroslav Hosek, The Woodwind Quintet, trans. Colleen G ruban (GrOnwald: Bernhard BrOchle, 1979).

^ Harold F. Abeles, Charles R. Hoffer, and Robert H. Klotman, Foundations of Music Education (New York: Schirmer, 1984) 19. university music departments have 6culty quintets. Examples of such groups are the

Sierra Woodwind Quintet at the University of Nevada at Las Vegas and the Camarata

Woodwind Quintet at the University o f Western Illinois.

The increasing prominence o f the woodwind quintet at every level—high school

university, and professional—inspired contemporary composers, including: Badings,

Barber, Barrows, Bergsma, Bhsch, Carter, Cowell Dahl Diamond. Davies. Etler. Fine.

Françaix, Henze, Hindemith, Hovhaness, Malpiero, Martinu, Milhaud, Nielsen, Palmer,

Perle. Persichettl Piston. Porter. Quinet. Schmitt. Schonberg, Schuller. Seiber. Shapey.

Sowerby, Villa-Lobos, Weiss, and Wilder.

While some of their works are small pieces, others such as the compositions by

Barber. Dahl Etler, Schonberg, Schuller, and Shapey are major works and have become

standards in the repertoire. It is important to note that Samuel Barber. Alvin Etler.

Gunther Schuller, and Ralph Shapey all worked with and wrote for the New York

Woodwind Quintet. A repertoire list of the New York Woodwind Quintet can be found in

Appendix A.

The history of the New York Woodwind Quintet includes many performances at

the Library of Congress, and world tours to South America, Europe, the Far East, and the

Soviet Union. The history also includes numerous tours around the United States,

children’s concerts for Young Audiences, Inc. The Quintet has collaborated with many

well-known composers and made numerous recordings. As teachers, the members of

Quintet have held residencies at various universities and colleges, including Summer

10 Evenings o f Music at the University of Wisconsin at Milwaukee, a continuing summer residency at Yale University’s Norfolk Festival and a current residency at the JuHIiard

School

35 Wise, 6-7.

11 CHAPTER 2

THE ESTABLISHEMENT OF THE NEW YORK WOODWIND QUINTET

THE FORMATIVE YEARS. 1947-1951:

At the end of World War II there was a revival of musical life in the United States.

Many of the servicemen returning from the war were musicians. Some, aided by the G.I.

Bill which provided assistance for the education of veterans, returned to school while others resumed their careers as professional musicians. ' Samuel Baron described a fresh attitude among musicians returning, “...what was new at this time was the growing ambition among youthful groups to make a career of woodwind quintet playing, to devote much energy to h, to set high artistic standards, and in general to model one's ensemble as far as possible after the string quartet, that idealized symbol of the chamber music way of life.”^ New York City provided an eager pool of young musicians prepared to make chamber music while waiting to find symphony jobs. The first members of the New York

Woodwind Quintet were Richard Giese, flute; John Mack, oboe; Charles Schiff. clarinet;

' Samuel Baron. “The Rebirth of the Woodwind Quintet in America,” American Ensemble. 6.3 ( 1983): 1 5 .

^ Baron.

12 Ross Taylor, horn; and Bernard Garfield, bassoon.^ The first concert was in November

1947 at the Museum o f the City of New Y ork/ The next concert was in February 1948 at the Brooklyn Museum. This conceit was a joint concert with the New York Brass

Ensemble conducted by flutist Samuel Baron. The program included the Stravinsky Octet with members of both groups and was conducted by Robert Craft.^

Later in 1948. a bassoon position came open in a woodwind quintet that was sponsored by Noah Wolff and called the Wolff Chamber Players. Bernard Garfield joined that group and took the name “New York Woodwind Quintet” with him.

I had the name. I had taken possession of it. because I was organizing it and I thought I could do that. We were playing firee concerts in order to promote ourselves. Then came my invitation to join the Wolff Chamber Players. Noah Wolff was willing to underwrite the group. They were willing to have me as part of the group, and I wanted to keep the name alive be^'ause I did not know how long Noah Wolff would contribute. That is how it worked. At the time it did not mean very much to me, because I felt as if I was doing all of the work, chasing around work. Whoever could make it would make it. If you could not make it, you left. That is how it went. And then Wolff finally pulled out and we were left and needed to hunt up a manager.*

The concert billing for those concerts read: “Wolff Chamber Players presents the New

York Woodwind Quintet.”^ At that time the quintet consisted of Charles Ehrenberg, flute;

^ See Chapter Five Personnel Changes for member biographies.

Bernard Garfield, letter to the author. 25 Oct. 1997.

* Garfield.

* Garfield, oral history interview, 10 Mar. 1998.

’ Garfield, 25 Oct. 1997.

13 Ralph Gomberg, oboe; Wallace Shapiro, clarinet; Raymond Alonge, horn; and Bernard

Garfield, bassoon.^ It was common for the personnel to change as members found

symphony jobs, which were more financially stable. From 1947 to 1951 there were many

different players: oboists—Ralph Gomberg, Ray Still and Albert Goltzer; clarinetists—

Wallace Shapiro, Earl Thomas and Anthony Gigliotti; horn players—Ray Alonge, Ralph

Pyle and William Mercier.’ Most o f these musicians moved on to symphony positions as

chronicled in their biographies in Chapter Five. Later in 1948, Charles Ehrenberg left the

Quintet to take a symphony position in Israel and Samuel Baron was invited to join as

flutist.In December 1949, a concert was given by the New York Wind Ensemble,

which was the combination of the New York Brass Ensemble and the New York

Woodwind Quintet. The Quintet for that concert was composed of Samuel Baron, flute;

Ralph Gomberg, oboe; Wallace Shapiro, clarinet; Ross Taylor, horn; and Bernard

Garfield, bassoon." The first Library of Congress concert played by the New York

Woodwind Quintet was February 17. 1950 as a joint concert with the New York Brass

Ensemble. The one constant in the personnel of the Quintet was Bernard Garfield. His

See Chapter Five Personnel Changes for member biographies.

“Evolution of the New York Woodwind Quintet: List of Players over the past 40 Years.” provided by John Gingrich Management. P.O. Box 1515. New York. New York 10023.

Garfield. 25 Oct. 1997.

11 Winds and Brasses in Unique Recital.” Woodwind Magazine Jan. 1949: I.

1 4 self-described position in the Quintet was “treasurer, business negotiator, and bassoonist.”'^

In the early 1950s the New York Woodwind Quintet became more established with the group consisting of Samuel Baron, flute; Jerome Roth, oboe; David Glazer, clarinet; John Barrows, horn; and Bernard Garfield, bassoon. Both Jerome Roth and

David Glazer credit Samuel Baron for their entrance into the Quintet in 1951. Jerome

Roth recalled. “I got this call one day firom Sam Baron, and he said, ‘Would you like to be in the New York Woodwind Quintet?’”''’ Roth had been playing principal oboe with the

Adolph Busch Symphony, the Mozart Orchestra and the Little Orchestra Society prior to joining the Quintet. David Glazer had come to New York to pursue solo and chamber performing after playing in the Cleveland Orchestra for five years. Glazer had met John

Barrows during the war when they were both in Army Air Forces Band in Washington

DC. Barrows had suggested to Samuel Baron that he call David Glazer to see if he would be interested in playing in the Quintet.When Glazer joined the Quintet, Ralph

Pyle was the horn player. Pyle left in 1952 when he received a position with the Los

Angeles Philharmonic at which point John Barrows joined the Quintet.

With Baron. Roth, Glazer, Barrows and Garfield, the consistent history of the New

York Woodwind Quintet began. In early 1950s, these musicians went to City Hall and

registered the name “New York Woodwind Quintet,” giving the group the right to the

Garfield, 25 Oct. 1997.

" Jerome Roth, oral history interview, 4 Dec. 1997.

'■* David Glazer. oral history interview. 26 Sept. 1997.

1 5 name." There were some personnel changes later in the 50s and again in subsequent decades as players moved on to other jobs. However, these were the musicians who composed the New York Woodwind Quintet that brought woodwind quintet literature and performance to a higher and more respected level fulfilling “a dream and a vague ideal to live a life in chamber music.”"

YOUNG AUDIENCES:

As mentioned previously, the early years of the Quintet were rather unstable with musicians leaving as they found symphony jobs. In order to fulfill the dream of actually surviving as a woodwind quintet it was important for the New York Woodwind Quintet to find reliable and regular work. One o f the important institutions that helped the New

York Woodwind Quintet flourish in the 50’s was Young Audiences, Inc.

Young Audiences, Inc. was established in 1952 by Mrs. Edgar Leventritt and Mrs.

Lionello Perera as a non-profit organization with the purpose of making “the arts an essential part of young people’s education.”" The New York Woodwind Quintet was one

Samuel Baron. Unpublished Journals of the New York Woodwind Quintet, Vol. VIII, p. 27, Samuel Baron Collection, Library of Congress, Music Division. This entry suggests that it was Feb. 9, 1954 that the name New York Woodwind Quintet was registered at the New York City Hall.

Baron, “The Rebirth of the Woodwind Quintet in America,” American Ensemble. 6.3 (1983): 16.

Young Audiences 1952-1982 and 1996 (New York: Young Audiences).

16 of the first three ensembles to ever perform for Young Audiences beginning in 1951 before Young Audiences had formally organized.'®

In New York, the Quintet’s connection to Young Audiences was through Carol

Morse and Mrs. Leventritt.’’ In Baltimore, Maryland, the Quintet’s connection was through Nina Perera Collier, daughter of Mrs. Lionello Perera.^”

Howard Taubman, Music Critic for the New York Times, wrote “The History of

Young Audiences” in a booklet distributed by Young Audiences. In it, he wrote o f how he had met Leventritt and Collier and learned about their work with Young Audiences.

In a New York Times article about Young Audiences from August 3, 1952, he shared their story and their passion about Young Audiences and described the organization.

The approach to the children was neither stufiy nor condescending. Fine musicians played good music in the classroom or school auditorium. The atmosphere was relaxed. The musicians spoke about the instruments and the music, and the youngsters were encouraged to ask questions, state their reactions. The programs were not long drawn out, being gauged to the staying capacity of the child. It was the conviction of Mrs. Edgar M. Leventritt and Mrs. Nina Perera Collier that the musicians invited to play were entitled to a minimum fee. The payment does not compare with concert-hall rates, but it is more than a token. Thus

'* Young Audiences 1952-1982. The other two ensembles were the String-Wind Trio, with David Glazer on clarinet and the New Music String Quartet.

” Glazer, 26 Sept. 1997.

Young Audiences 1952-1982.

1 7 Young Audiences, Inc. accomplished a highly worthwhile secondary objective—it provided work.^'

Young Audiences called on the Quintet consistently to present school concerts.

As an example o f where the Quintet would play for Young Audiences-New York: concerts were performed at schools all over the city in Staten Island, Queens, Manhattan. the Bronx, and Brooklyn.^

Oral history interviews with Glazer and Garfield and the Samuel Baron journals verified that these concerts were instrumental in keeping the group performing and intact.

Up to five Young Audiences concerts per day would be performed at schools that were in close proximity to one another. “The concerts were less than an hour long and we could do three concerts in the morning and two in the afternoon.According to Jane Bak.

Director o f National Services for Young Audiences, the average program lasted between

forty-five and fifty minutes; the average size of the audience for auditorium programs was around 150-200 children; and programs were typically for youngsters fi’om the fourth, fifth

and sixth grade.*"* Ms. Bak also mentioned that although there are no records to

document the number of programs given specifically by the Quintet, during the 1957-58

■' Howard Taubman. “The History of Young Audiences,” Young Audiences 1952-1982 (New York: Young Audiences). He quoted himself from an article he had written 3 Aug. 1952 for the New York Times.

“ Baron Collection, Box 4.

“ Glazer, oral history interview, 10 Feb. 1999.

Fane C. Bak, letter to author, 17 Feb. 1999.

18 school year thirty-nine Young Audiences ensembles in seventeen states and Washington

DC presented 1.250 concerts.^

The New York Woodwind Quintet initially performed concerts in New York and

Baltimore but eventually presented Young Audiences concerts all over the United States in conjunction with other concert tours.** One such tour was the 1958 tour to southern

California. In Pasadena, the Quintet presented a concert for the Pasadena Council of

Parents and Teachers and the Pasadena City Schools. A review from the presentation stated:

The concerts took on the nature of a series of plumbing problems, as one player after another took his instruments apart and explained its method o f producing sound by variances in mouthpiece and length of tubing. Between the piccolo and the bassoon there was a difference of eight feet, but unfortunately John Barrows, the French horn player, didn’t face up to the problem of uncoiling the 21 feet of tubing in his brass instrument. But he was careful to admit that the horn was really an interloper in the woodwind quintet -that it had no reed mouthpiece and had never in history even been made of wood. But the tone was the factor which makes it a blending agent with the piccolo and flute, the oboe, the clarinet, and the bassoon. Anyway, that’s the kind of a concert it was -informative and informaL lively, varied and filled with little bouquets of superb playing of short, illustrating works by Milhaud, Ibert. Alec Wilder, horn player Barrows, and much older masters as von Weber, Beethoven and his fiiend, Anton Reicha. And binding everything together there were frequent bits

“ Bak.

“ See Chapter 3, Domestic and World Tours.

19 from ProkofiefiTs ‘Peter and the Wolfr’ in which many o f the wind instruments symbolize animals and persons. 27

In 1957, educational films for Young Audiences called ‘Introducing the Winds” were organized by Nina Collier and were made possible through National Educational

Television sponsored by the Ford Foundation. In froiit of a studio audience made up of children, Yehudi Menuhin and members of the Quintet demonstrated the instruments, lectured about them and performed.^’

After several years of presenting, the Quintet became recognized as one of Young

Audiences* most important models in performing childi en*s concerts.^” In the midst of the

1957 summer residency at the University of Wisconsin at Milwaukee, Summer Evening’s of Music, the Quintet gave a children’s concert at the Ravinia Festival the summer home of the Chicago Symphony. The audience included several people from the Chicago

Symphony and representatives from Young Audiences-Chicago. Members of the

Symphony had been urged to attend this concert by people from Young Audiences-

Chicago. Young Audiences-Chicago used the New York Woodwind Quintet as an example of how young people’s concerts should be presented.^'

^ C. Hickman. “N.Y. Woodwind Quintet Slates Concert Today,” Independent Star-News 19 Jan. 1958: A4.

“ Glazer, 26 Sept. 1997.

One of these films is available through Northern Illinois University and California State University • Long Beach libraries.

Baron, Journal, Vol.VII, 20 Jul. 1957

Baron, Journal.

20 The Quintet continued performing concerts for Young Audiences well inio the

1960s/^ Even after the formal connection with Young Audiences no longer existed, the

Quintet continued to play concerts for children and young people throughout the United

States and several times on their world tours to the Far East and South America/^

LIBRARY OF CONGRESS:

Another important institution which contributed to the success of the New York

Woodwind Quintet was the Library of Congress in Washington, D. C. From 1950 to

1972 the Quintet performed on five concerts sponsored by the Elizabeth Sprague

Coolidge Foundation and on nine concerts sponsored by the Gertrude Clarke Whittall

Foundation/'* At many of these concerts, the quintet presented the premieres of works commissioned by Library of Congress foundations.

Elizabeth Sprague Coolidge (1864-1953) was “one of the greatest music patrons of all time.”^^ Mrs. Coolidge had promoted chamber music for years and wanted to establish a permanent base to sponsor it. In a 1925 letter to the Librarian of Congress,

Herbert Putnam, Mrs. Coolidge wrote:

Glazer, 26 Sept. 1997.

See Chapter Three.

” See Appendix B for complete programs and Library of Congress call numbers for recordings of the concerts.

Gimther Schuller, foreword, Elizabeth Sprague Coolidge: American Patron of Music, by Cyrilla Barr (New York: Schirmer, 1998) ix.

21 to make possible, through the Library o f Congress, the composition and performance o f music in ways which might otherwise be considered too unique or too expensive to be ordinarily undertaken. Not this alone, of course, nor with a view to extravagance for its own sake; but as an occasional possibility of giving precedence to considerations of quality over those of quantity; to artistic rather than economic values; and to opportunity over expediency/^

“In 1925 the Elizabeth Sprague Coolidge Foundation was established in the Library for the promotion and advancement of chamber music through commissions, public concerts, and festivals.”^’ Through her foundation hundreds of works were commissioned by many prominent composers including Milton Babbitt, Samuel Barber. Benjamin Britten. Aaron

Copland, George Crumb, Paul Hindemith, Darius Milhaud, Walter Piston, Arnold

Schonberg, Igor Stravinsky, and Anton Webem.’’*

Like Mrs. Coolidge, Gertrude Clarke Whittall (1867-1965) was a great patron of the arts. In 1935 and 1936, she presented the Library of Congress five Stradivari instruments. In February 1936, the Gertrude Clarke Whittall Foundation was established at the Library to maintain the Stradivari instruments and to support their use in concerts.'’^

Harold Spivacke was chief of the Music Division of the Library of Congress fi-om

1937 to 1972. David Glazer had met Mr. Spivacke when he served in the U.S. Air Corps

“ Library of Congress, Music, Theater. Dance: An Illustrated Guide (Washington, DC: Library of Congress, 1993)20.

” Library of Congress.

Cyrilla Barr, 353. A complete list of Coolidge Foundation commissions is in the appendix of the Barr book.

39 Library of Congress, 22.

22 Band in Washington, DC during World War Earlier, during his student days in

Boston, he had met Mrs. Coolidge.'*' Mr. Glazer’s relationship with these prominent

Ggures greatly helped the New York Woodwind Quintet. Consequently, the Quintet premiered seven works on fourteen Library of Congress concerts. Five o f the new works for woodwind quintet were commissioned by Library o f Congress foundations.

Serge Koussevitsky (1874-1951) the distinguished Russian conductor, established two Library of Congress foundations dedicated to the development of creative musical talent, one in 1942 and one in 1949.*^ The works commissioned through the Koussevitsky

Foundation include the Richard Rodney Bennett Wind Quintet (1967-69) and Wallingford

Riegger’s Concerto for Woodwind Quintet and Piano (1953). The Elizabeth Sprague

Coolidge Foundation commissioned the William Bergsma Concerto for Woodwind Quintet

(1958), Irving Fine's Romanza for Wind Quintet (1962), and the Gian Francesco Malipiero

Sonata a quattro (1954).'*^ Other Library of Congress premieres included the Ezra

Laderman Trio and Fantasy for Woodwind Quintet (1972) and Quincy Porter's Concerto for Wind Quintet (1958).

In a 1961 review of the New York Woodwind Quintet Library of Congress concert where it premiered the Quincy Porter Concerto Wendell Margrave wrote:

Glazer. oral history interview, 6 Oct. 1998.

Glazer. 6 Oct. 1998.

Library of Congress. 24.

See Appendix B for a selected discography of the New York Woodwind Quintet including Library of Congress Music Division Concerts with a complete listing of programs and foundation sponsorships.

2 3 The woodwind quintet is the antithesis o f the string quartet. Here, the homogeneity of sound of the strings is replaced by the completely individual voices of five wind instruments, of which each varies in quality of sound fi'om register to register. Consequently, music for this medium is likely to be coloristic, rather than structural, and the composer must be completely aware o f the capacities of each of the instruments, and must, in addition, protect the players by allowing time for breathing. The New York Woodwind quintet has few equals and no superiors in the most difBcult aspects o f wind ensemble playing-balance o f tone and perfection of intonation. They had ample opportunity to display in last night’s program. The ensemble was so good, that no comment on individual excellence is called for, except perhaps a reference to John Barrows’ lightness, delicacy and control in managing the hom.'*"’

The Quintet’s association with the Library of Congress was important for several reasons. Performing at the Library of Congress gave the New York Woodwind Quintet national exposure and put it in the same echelon as other prominent chamber groups that performed there, such as the Budapest and Juilliard String Quartets. Without the support of the Library of Congress foundations, the Quintet would not have had the money to commission works on its own. In addition, the Elizabeth Sprague Coolidge Foimdation garnered the Quintet even more exposure by sponsoring a domestic tour to colleges in

Alabama and Louisiana in 1961.^^

** Wendell Margrave, “New Works Presented by Woodwind Quintet," Washington Star 28 Jan. 1961.

Samuel Baron Collection, Box 4, Library of Congress. This is also in Coolidge Foundation records at the Library of Congress.

2 4 RESIDENCIES AND TEACHING:

In addition to performances of all kinds, teaching has been an meaningful activity and an important element that has contributed to the success and longevity of the New

York Woodwind Quintet. University residencies, including performances, lectures, master classes, and private lessons have played an important stabilizing force for both the Quintet members and their students.

A particularly important one was the summer residency at the University of

Wisconsin at Milwaukee, formerly the Milwaukee State Teachers College. David Glazer had earned his undergraduate degree at this institution. In 1955. through Da\id Glazer’s connections in Milwaukee, the Quintet was invited to come and spend a few weeks in the summer at the University. The concert series was called Summer Evenings of Music and was in conjunction with the Fine Arts String Quartet, which was also in residence.'*’

For six weeks during the summer the musicians lived in the Marietta House, a gorgeous old mansion on Lake Michigan, performed concerts, conducted master classes, presented lectures, and coached student ensembles. In addition to performing concerts as individual groups, members of the Quintet and the Quartet collaborated to perform such works as the Beethoven Septet, and the Schubert Octet.

Summer Evenings of Music was something the Quintet looked forward to each year. The residency was a wonderful opportunity to maintain a regular rehearsal schedule.

Baron, Journal, Vol. Ill, p. 20.

■*’ Fine Arts String Quartet consisted of Leonard Sorkin, violin; Abram Loft, violin; Irving llmer. viola; and George Sopkin, cello.

25 perfonn and teach. Composers such as Alec Wilder, Alvin Etler, and Ralph Shapey had works premiered by the Quintet during Summer Evenings o f Music."** This summer residency lasted until 1968.*’

It is interesting to note what the Quintet was paid for their summer residency at the

University of Wisconsin at Milwaukee. A letter found in the Baron Collection at the

Library of Congress suggested $8500 for the summer of 1958. A contract from 1960 stated $10,000 for the six weeks plus and additional $4500 fr)r the quintet to come back and play in the chamber orchestra during the school year.^° This fee was divided amongst the five members with a percentage going to their artist manager.^'

The Fine Arts String Quartet had their own recording company in the Chicago area called Concert Disc. During the summer residency in Milwaukee, the Quintet recorded several works with Concerts Disc and these are listed in the Appendix B.

As a result of its touring across the United States, the critical acclaim in New York

City and nationally, its recordings, the premieres and commissions, the Quintet was primed to become a resident woodwind quintet at a university. In 1955 and 1956, offers came both from Indiana University in Bloomington and from the University of Wisconsin at

Milwaukee. The Quintet was divided on whether to accept either of these offers. Those

■** See Appendix A New York Woodwind Quintet Repertoire List for more information on these works.

” RaIph Froeiich, oral history interview, 17 Mar. 1998.

Baron Collection Box 4.

” The Quintet has had various managers throughout the years. They started with Erminie Kahn. Then they went with Herbert Barrett. After Barrett. Sheldon Softer was their manager. John Gingrich

2 6 members who had &milies and &mily ties in the New York area did not want to leave.

Others wanted the financial stability that university teaching would bring. In the end, the

Quintet refused both offers, as they did a later offer from Redlands University in

California.*^

Through the years, the Quintet held brief residencies at State University of New

York at Binghamton and the State University of New York at Stony Brook.*'’ As teachers, members of the Quintet have had a lasting effect on their students.

While a student at SUNY Stony Brook, oboist Brenda Schuman-Post had the privilege of studying with several Quintet members. She studied with Ronald Roseman for a total of seven years, including the period when he was also on the faculty at Sarah

Lawrence College. She also attended seminars the Quintet gave at Harpur College at

SUNY Binghamton. Schuman-Post has managed to maintain an active relationship with the Quintet throughout the years and has heard them perform over a period o f thirty years.

Members o f the Quintet suggested speaking with her to get an overview of their teaching.

In addition, members jokingly mentioned that she has probably attended more New York

Woodwind Quintet concerts than any other person.

had worked for SofTer and had managed the Quintet under Soffer. He then went out on his own and managed through 1997. As of the 1998-99 season the Quintet is represented by Fine Arts Management.

Baron, Journal, Vol. Ill, IV. V and X. Several journal entries mention these offers.

” Baron Collection, Box 4 and 5.

2 7 Schuman-Post credits listening to the Quints a~ J studying with members for much of her development as a musician. Her studies with Ronald Roseman began when she was

still an undergraduate.

If it wasn’t for Ronnie pointing me in specific directions I would not have developed the way I did. He nurtured my natural inclinations and pushed me to improve weak areas. He taught me to be simultaneously adventurous, daring and totally conventional.^**

Samuel Baron taught Baroque style and ornamentation at SUNY Stonybrook.

Musically, what I learned most from Sam was rhythmic structure. He taught me that ornaments are not part of the rhythm, that emphasis should be placed on specific beats. He taught me how to ‘lighten up.’ I’ve been able to apply that to every piece of music that I play regardless o f when it was composed.^*

Arthur Weisberg taught a class in Contemporary notation.

My primary study with Arthur Weisberg was how to count. I can tell you a fond memory I have of him. He was giving a class called Contemporary Notation. He taught us how to count three against five against seven and how to break it down mathematically. It was a very large class and at one point he put some music in front of the class to read and it was impossible. He stood behind me the whole time, for the whole piece. I just remember I couldn’t follow it at all. After we finished massacring the piece, he stood in front of the class and gave an incredible lecture on the art of faking it.^

Schuman-Post gives Thomas Nyfenger credit for increasing her sensitivity to intonation.

^ Brenda Schuman-Post, oral history interview. 18 June 1998.

” Schuman-Post.

** Schuman-Post.

2 8 Tom Nyfenger played flute in the Quintet for a while. He was also a big influence on me. His method of teaching was rather bhmt, point blank, aggressive. As a personality type he was the more unusual of the group. He seemed hard hearted, but really his method was to be so firm that the student would snap to

She used the following words to characterize their teaching as a group:

Generosity, kindness, patience, honesty -genuine honesty, they were firm, harsh, ruthless when they had to be, and still kind. They never settled for anything other than the student’s ‘best.’ They even pointed out student’s personality flaws that were interfering with the student’s education. They gave me the knowledge that chamber music is individual lines and individual voice meshing together as a whole. While their own individual personalities really sparkled in the group, their personalities never came across as ‘listen to me.’ They value harmony in life as well as in music.*®

The Quintet has maintained a tradition of traveling to universities throughout the

United States and staying for brief periods while performing, lecturing, and giving master classes. The number of universities the Quintet has played at includes: SUNY Potsdam,

SUNY Oswego, SUNY Purchase, SUNY Stony Brook, SUNY Binghamton. Sarah

Lawrence College. Cornell University, Swarthmore College, Dartmouth College. Goshen

College, Ohio University, Western Washington State University, Bennett College,

Greensboro College, University of Houston, Northwestern University, Miami University,

University of Chicago, Coe College, University of Redlands, California, Rutgers

Schuman-Post.

2 9 University, University of Iowa, and North Texas State University/’ This list is by no means exhaustive but gives an idea o f the influence the Quintet has had performing and teaching throughout the United States.

As individuals, the members of the Quintet have taught at State University of New

York at Stony Brook, Purchase and Binghamton, the Manhattan School of Music. Sarah

Lawrence College, Yale University, and Queens College. Since 1984 the Quintet has had a summer residency at the Norfolk Festival of Chamber Music organized by the Yale

University Summer School of Music.*’ At Norfolk, members coach chamber ensembles, present master classes, and perform.

In 1989 the New York Woodwind Quintet became the “woodwind quintet in residence” at the Juilliard School.*' According to Ronald Roseman. “Sam and I arranged that—we talked and thought about it and thought it would be a great idea since they had the string quartet.”*^ Roseman and Baron had been on the Juilliard wind faculty at that time. Currently, members of the Quintet present eight seminars each year for student woodwind quintets. Each member is also on the faculty to teach individual students and to give regular coaching sessions throughout the year to chamber ensembles. The Quintet also presents a faculty recital each year.

' Baron Collection. Box 2.

“ “New York Woodwind Quintet.” Norfolk Chamber Music Festival .

Charles Neidich. oral history interview, 6 Mar. 1998.

Ronald Roseman. oral history interview. 25 Sept. 1997.

3 0 CHAPTERS

DOMESTIC AND WORLD TOURS

Touring is another element which has contributed to the longevity and success of the New York Woodwind Quintet. The Quintet developed a national reputation o f musical excellence by performing at universities and for chamber music societies across the United States. One oi hi, first tours was in the summer o f 1950 when the Quintet consisted of Samuel Baron, flute; Ray Still, oboe; Anthony GigliottL clarinet; Ray

Alonge, horn; and Bernard Garfield, bassoon. The tour took the Quintet to Iowa.

Oklahoma, Texas, Missouri, Nebraska, and Minnesota. From 1951 to 1956 touring became more fi’equent and occurred throughout the academic year and covered much of the United States. As mentioned in Chapter 2, fi-equent performances occurred in conjunction with Young Audiences concerts.

By 1956 the Quintet, consisting of Samuel Baron, flute; Jerome Roth, oboe;

David Glazer. clarinet; John Barrows, horn; and Bernard Garfield, bassoon; was well established as a leading chamber music group in the United States and embarked on its

first world tour to South America. This tour was arranged through the American National

Theater and Academy, Young Audiences, and the United States Department of State.'

David Glazer, oral history interview. 26 Sept. 1997.

31 The Quintet had perfonned a concert at the Bohemian Club in New York City on January

29. 1956.' David Glazer was a member of the Bohemians and knew Edwin Hughes, the president of the organization at that time.^ Mr. Hughes was on a committee at the State

Department which at the time was looking for small chamber groups to go on tours throughout the world."* It was more economically viable for the U.S. government to send small chamber groups on diplomatic missions rather than entire symphony orchestras.^

According to horn player Ralph Froeiich, “David Glazer knew a lot of people and wrote a lot of letters to get the State Department tours.”* The connection was then made with the State Department and the Quintet became “musical ambassadors."

The 1956 tour lasted two months and covered twenty-one cities in Colombia,

Chile, Argentina, Uruguay, Paraguay. Peru, and Brazil.^ While on tour, the Quintet presented formal recitals, and by using interpreters, presented children's concerts, much in the same vein as those it did for Young Audiences in the United States. They also performed the Etler Concerto for Woodwind Quintet and Strings with the orchestra in

Bogota, and made several television appearances in Colombia, and Brazil. The Quintet

Baron Collection. Box 2. The Bohemians is an organization that musicians belong to in New York City.

David Glazer, oral history interview. 6 Oct. 1998.

Glazer.

Ralph Froeiich. oral history interview. 17 Mar. 1998.

Baron, Journal. Vol. V and VI. These two volumes of journals, provide a daily log of the tour.

3 2 was granted celebrity status and received favorable press throughout the tour.* They met composers such as Luis Escobar in Colombia, Juan Orrego-Salas in Santiago. Chile.

Alberto Ginestera in Buenos Aires. Argentina, and Heitor Villa-Lobos in Rio de Janeiro.

Brazil.’

The 1957-58 season began with Arthur Weisberg on bassoon. Domestic tours were made to the Mid-West including concerts in Ohio. Wisconsin, and Minnesota and later in the season to Los Angeles. Bakersfield, and Redlands. California."’ In addition. thanks to the relationship created by the South American tour, the State Department asked the Quintet to perform as American representatives at the 1958 World's Fair in

Brussels. Belgium.' ' A letter from the OfiBce of the U.S. Commissioner General U.S.

Department of State to the Brussels World's Fair states:

The New York Woodwind Quintet has been invited by the U. S. Commissioner General to appear in a recital in the United States Pavilion Theater in the Brussels World's Fair In 1958. The appearance of the Quintet is in line with the development of an important cultural demonstration of the performing arts for a world-wide audience.'*

The Quintet presented its concert in the American Pavilion on August 25. 1958.

However, this trip would not have been possible without some additional financial help.

* “America’s Best Ambassadors" International Musician Jan. (I960): 10-15, 34. This is an article about the American National Theater and Academy and their programs through the State Department.

’ Baron, Journals, Vol. V and VI. See Appendix A for works written by these composers.

Baron, Journal, Vol. VIll.

Glazer, 26 Sept. 1997.

Baron Collection, Box 4.

3 3 Assistance came from Jerome Hill, a friend of composer Alec Wilder, who invited the Quintet to play two concerts and some background music that Wilder had written for stage plays at the Second International Cassis Festival in Cassis, France.'^ Hill owned an amphitheater in the south o f France. The background music for woodwind quintet was incidental music for Shakespeare’s Twelfth Night.

Jerome HilL the financial backer of this festivaL was related to J.P. Morgan and made his money on the Great Northern Railway.'^ Samuel Baron, in his journal, described

Hill as an incredibly wealthy man with a talent for art. music, theater, and film. Because of the Cassis Festival and financial backing from Jerome HilL the Quintet was able to make the European tour.

The Quintet also performed for many radio broadcasts on the European tour in the

Netherlands, and in Germany. The Quintet premiered the Gunther Schuller Quintet

(1958) which was written for them, on a radio broadcast in Cologne. Germany on

September 9. 1958.'^

Domestic tours in 1959 were to many of the same locations from the year before.

The (Quintet had made such a favorable impression that venues invited them back for repeat engagements. One of the places to which they returned was Coe College in Cedar

" Baron, Journal. Vol. VIII. p. 4 of the postscript.

'■* Glazer.

” Baron. Journal. Vol. VIII, 9 Sept. 1958.

3 4 Rapids, Iowa. Many good Mends had been made with the 6culty at Coe College, and this was the Quintet’s third appearance in as many years.

The 1959 season also took them back to Texas and California. The Quintet made its second appearance at Redlands University in California and this time was offered a residency. This was met with the same reluctance as the residency offers they had received before.In Los Angeles, the Quintet presented a major concert for the Los

Angeles Music Guild. In Texas, concerts were presented in Dallas and Denton.'*

Shortly after their Mid-West and California tour, the Quintet traveled to Puerto

Rico. John Barrows had developed many connections in Puerto Rico through the Casals

Festival held there. The Quintet performed in San Juan, Mayagüez. San German, and

Ponce.

As should be clear from the preceding discussion, the middle fifties to late fifties were active years of touring and teaching for the New York Woodwind Quintet. These activities continued into the 1960s as the Quintet’s importance as a chamber ensemble grew. It was unheard of at the time for a woodwind quintet to make a viable wage. The

New York Woodwind Quintet was one of the first wind chamber groups to make a substantial portion o f its living playing as a quintet. This was primarily due to the extensive touring domestically and abroad.

Baron. Journal. Vol. X.

” Baron. Journal.

'* Baron. Journal.

” Baron. Journal.

35 Herbert Barrett was the artist manager for the quintet during this period (50s and

60s). He saw the Quintet through their first South American and European tours. “He was a rather well established impresario but we had to depend on our own connections for

a lot o f concerts.”^® The Quintet did establish many of the connections on their own.

David Glazer explained;

John Barrows knew people fi'om California. Someone else knew Texas, I knew the Mid-west. Through all of this we survived some way.^'

Even though the Quintet made many of the connections for the concerts itself, “he

[Barrett] still wanted a commission even if he didn’t do the leg work for the concert.’’^^

This became a source of fiiction. There were also points of disagreement between Barrett

and the Quintet in terms of how much the quintet was to pay him in commission and how

much he would do for the group. The problem arose over the fact that the commission

Barrett received was more than an individual member of the Quintet would receive. The

Quintet felt that each individual member should receive more than the manager. Many a

meeting occurred witli Barrett concerning commissions and fees. Eventually Barrett

decided to put the Quintet on a straight commission.^^ This made the Quintet much

happier for a while but it seems that periodic arguments about commissions and fees were

Glazer. 26 Sept. 1997.

Glazer.

22 Glazer, oral history interview, 16 Feb. 1999.

^ Baron, Journal, Vol. Ill, p. 88. Straight commission being the same fee for each concert rather than a specific percentage off the total for each concert.

3 6 par for the course with their relationship and eventually the Quintet moved to Sheldon

Soflfer Management.^"*

At the time tour appearances included a solo concert, a workshop on repertoire and an instrumental workshop. The following is a sample of what they would earn on tour:^

Tour to Coe College, California and Texas. Coe College March 12 & 13, 1959 S2000 Redlands University March 16, 1959 S 300 Music Guild of LA March 17, 1959 SI 000 Dallas Chamber Music Society March 25. 1959 S 700 North Texas State March 24. 1959 S 750

In 1961 the Quintet departed on its first Southern Tour to Alabama and Louisiana:

Tuskegee Institute. Alabama College, the University of Alabama, Southwestern Louisiana

University. Dillard University, Louisiana State University, Centenary College, Northwest

State College and Southern University. The tour was sponsored by the Coolidge

Foundation at the Library of Congress and the Association of American Colleges Arts

Program.’* The Quintet presented concerts and clinics at each school. The fee was $700 for each school; the Coolidge Foundation paid for $350 of that fee.*’

April 2. 1961 marked the start of the second tour of Europe for the New York

Woodwind Quintet. The tour began in London with a broadcast recording at BBC

*'* The relationship with Barrett is chronicled throughout the Baron Journals.

“ Baron Collection Box 4.

Baron Collection Box 4.

3 7 Studios. Following that the Quintet played a concert at the American Embassy. Present at that concert were Gareth Morris and Geoffrey Gilbert, two well known British flutists.^®

From London the Quintet went to Paris and played a concert at the Centre Culturel

Américain. Following Paris, the Quintet went to Amsterdam where they met the oboist from the Danzi Quintet.^’ From Amsterdam they went to Hilversum where they performed for a radio broadcast recording.

The next stop was The Hague where the Quintet joined the Fine Arts String

Quartet to present the J. S. Bach Art of the Fueue. From The Hague it was on to Brussels where they played for a television broadcast. The Quintet played concerts and made radio broadcast recordings in Stuttgart. Frankfurt, Berliru and Munich, Germany and in

Basel and Geneva, Switzerland. The tour ended with concerts in San Sebastian. Spain and

Lisbon, Portugal.'"

The 1961 European tour was a great success for the Quintet. They covered eight countries, England, France, Holland, Belgium, Germany, Switzerland, Spain and Portugal.

Numerous radio broadcast recordings were made and according to Samuel Baron's journals the Quintet received good reviews throughout the tour.^'

The success of the New York Woodwind Quintet continued into 1962 when it embarked on its most ambitious world tour. From August to October o f 1962, the

-* Baron, Journal, Vol. XII, 4 April 1961.

” See Chapter 4 for more details on the Danzi Quintet.

Baron, Journal, Vol XI. This volume includes a log of this tour.

Baron, Journal.

38 Quintet toured the Far East. Like the 1956 tour to South America, the tour was sponsored by the American National Theater and Academy and the United States

Department of State’s Cultural Presentations Program. Concert programs from the tour listed the following as the mission statement for the Cultural Presentations Program:

The special International Program of Cultural Presentations o f the Department of State is dedicated to the principle that nations arrive at an imderstanding of each other as much through demonstrations o f their cultural achievements as through normal diplomatic relations. For the last eight years [1955-1962] under this program the Government of the United States has sent out to over one hundred coimtries aroimd the world its best performing artists and athletes. More that four thousand American performers have participated in over two hundred tours.

Tours under this program are assisted by the professional, non-profit organization o f the American National Theater and Academy (ANTA), which is chartered by the Congress of the United States of America for furthering interest in the performing arts. Under their aegis, groups of experts in each category of these arts search for the best productions, which are then recommended to the Department of State for tours abroad.^^

On all of the State Department and ANTA tours it was common for the Quintet to attend functions and receptions put on by the United States Information Service (USIS) in each of the countries they visited. Often the American Ambassador to the particular coimtry also hosted a reception for the Quintet. In certain locations, members of the

Quintet met with local musicians and many times local musicians performed for the

Quintet. Frequently the Quintet would record for television broadcast. Normally these

Program, The United States Information Service Presents: The New York Woodwind Quintet. 3 Oct. 1962.

3 9 programs were about half an hour long and included movements of pieces and program notes read by the announcer in the language of the country/^ Ronald Roseman mentioned that the State Department sent reed making supplies and other gifts such as records for the

Quintet to give to the people/^

The three month tour took the Quintet to Vietnam, Cambodia, Thailand, Laos.

Malaysia, Indonesia, Singapore, The Philippines, South Korea, and Japan. The New York

Woodwind Quintet tour of the Far East covered nineteen cities in eleven countries. They made forty-one concert appearances playing for a total estimated audience o f28.990 (not counting radio or television appearances). Twelve of their concerts were free and twenty- four were ticketed. They made five radio and television appearances and gave twelve clinic and workshop sessions.^*

It was an interesting period historically for the Quintet to be touring the Far East.

Communists had taken over northern Vietnam and it had been divided in 1954.^® The

United States had been stepping up its military presence since 1956 and by 1963 had 1600 military advisers in Vietnam.^’

Despite the heightened political tension, the Quintet was very well received in

Vietnam. While there, the Quintet met with Nguyen Huu Ba, an authority of Vietnamese

Baron. Journals, Vol. XI and XII.

Ronald Roseman. oral history interview, 25 Sept. 1997.

Baron Collection Box 7.

Mounir Farah and Andrea Berens Karls, World History: The Human Experience (New York: Glencoe, 1994) 854.

40 foQc music. In addition, the Quintet was able to meet with musicians from Saigon who were both French and Vietnamese. In both Hue and Saigon, the Quintet presented children’s concerts as well as formal concert programs.^^

From Vietnam, the Quintet flew to Pnomh Penh, Cambodia. Upon arriving in

Cambodia, the Quintet was informed it was to play a command performance for the Queen o f Cambodia. The performance was filmed by the United States Information Service and the Queen presented the Quintet with the “Order of Monisaraphon.” The Queen stuck an enormous gold medal on Samuel Baron’s jacket and presented him with a scroU.^^ Ronald

Roseman described this experience as follows:

We played a concert for the Queen of Cambodia and the TV lights were so hot we almost died. We couldn’t use our handkerchiefs to wipe our faces because it was on TV. 100 degree temperature, imagine playing your flute or my oboe. They were just slipping all over the place.'’®

The next stop on the tour brought the Quintet to Bangkok, Thailand. From

Bangkok they flew to Vientiane. Laos.

Laos was also politically tenuous at the time. Communists rebels led by Prince

Souphanouvong had invaded northern Laos in 1953.^' By I960 there was a three way

struggle for power between neutralist, rightist, and Communist forces. Communist forces

Farah and Karls.

Baron. Journal. Vol. XI. 19 Aug. - 22 Aug. 1962.

” Baron, Journal. Vol. XI. 22 Aug.. 1962.

Roseman, 25 Sept. 1997.

4 1 were led by Prince Souphanouvong; the right wing government in power was led by

Prince Boun Oum; and the neutralists were led by Prince Souvanna Phouma.^^ In 1961 a cease-fire was agreed upon/^

In the midst o f all of this political unrest, the New York Woodwind Quintet performed in Laos. The Quintet played a concert in Vientiane which was attended by the above mentioned political leaders of Laos: Prince Souvanna Phouma, Prime Minister:

Prince Souphanouvong, Deputy Prime Minister; and Prince Boun Oum, Inspector

General.^ Due to the political strife Laos had been experiencing, it was a great compliment to the Quintet that these princes, of opposing political views—indeed, political enemies—attended their concert. It gave the U.S. Embassy great pleasure to present the Quintet in the role of peacemaker for political adversaries."*'

From Laos, the Quintet traveled to Kuala Lumpur. Malaysia, Penang and Djakarta,

Indonesia. In Djakarta they met Carl Wirth. the conductor of the Djakarta Symphony.

This was the first time the Quintet was able to meet symphony musicians on this tour. Up

■““Laos,” The Columbia Encyclopedia fNew York: Columbia University Press. 1993) on Infoplease.com

“Laos.”

” "Laos."

** Baron, Journal. Vol. XI, 27 Aug. 1962.

Baron, Journal, Vol. XI, 27-28 Aug. 1962.

4 2 to this point, there had not been a functioning symphony orchestra in any o f the locations they performed.^

From Djakarta the Quintet toured across Indonesia to Bandimg and Semarang. In

Bandung, the Quintet was taken to a girls school where they were treated to a concert by an anklung orchestra. The anklung is a native Javanese instrument that looks a bit like a rack holding two sections o f hollow bamboo stalk. The stalks rattle and give off a pitch.

In an anklung orchestra there is one anklung for each note in the scale and they are distributed between the players. The orchestra presented a concert of traditional songs along with some western pop tunes such as “O Sole Mio," “Besame Mucho." and “South of the Border.” Later that same evening the Quintet presented their concert. After it was over, the governor of Bandung with his wife and some other local ofiBcials. presented the

Quintet with a set of seven anklungs. It was amusing for the Quintet to carry the anklungs with them for the rest of the trip. Samuel Baron in his journal likened the Quintet to a

‘walking xylophone.”*^

From Indonesia the Quintet traveled to Singapore and subsequently Manila, in the

Philippines. Samuel Baron played Mozart Concerto in G Major and Ronald Roseman.

^ Baron. Vol. XII. On previous tours to South America and Europe it was typical for the Quintet to meet with symphony musicians in towns. The symphony musicians would come to Quintet concerts and the Quintet would try to attend symphony concerts if they could.

Baron. Journal, Vol. XII, 12 Sept. 1962. Here a more detailed description can be found of the event including drawings of an anklang.

43 David Glazer, Ralph Froeiich and Arthur Weisberg played Mozart*s Stnffania Concertante with the Manila Symphony/*

While in the Philippines the Quintet traveled to Cebu and Dumaguete City. In

Cebu approximately 800 attended the concert and in Dumagüete City about 2200 people attended the program the Quintet presented at Silliman University.'”

The tour then returned to Manila where the Quintet presented two days worth of master classes for wind players. Members of the symphony, army bands, students and teachers of the conservatories and other interested persons attended the sessions. Works such as Gounod’s Petite Symphonie and Mozart Serenades were played by members of the Quintet joining workshop participants.^®

Next stop on the tour was TaipeL Taiwan. Clinics were given for local musicians and a concert was given for 2000 people.

After Taipei the Quintet traveled to SeouL South Korea. Here it presented a concert as well as Quintet members teaching private lessons. The Quintet also spent some time with the players from the Seoul Quintet, coaching them on their playing.^'

From Seoul the Quintet traveled to Tokyo and Osaka, Japan for the last leg of the

Far East tour. In Osaka, where the Quintet performed at the Osaka Festival Hall to a

Baron, Journal, Vol. XII, 21 Sept. 1962.

Baron, Journal, Vol. XII, 25 Sept. 1962.

Baron, Journal, Vol. XII, 29 Sept. 1962.

” Baron, Journal, Vol. XU, 8 Oct. 1962.

44 capacity crowd o f3000, Ronald Roseman excited the audience by announcing the encores in Japanese/^

In Tokyo they rehearsed the Etler Concerto for Woodwind Quintet and Orchestra with the Japan Philharmonic. The Quintet had attended a performance of the

Philharmonic at Ueno Bunka Kaikan. an acoustically wonderful hall, and were very

impressed with the musicians.*^ The Quintet premiered the Etler Concerto for Woodwind

Quintet and Orchestra on October 18, 1962. Bassoonist Arthur Weisberg described

playing for such large crowds:

Most of the audiences were quite wonderful. Large and enthusiastic. Much more than we were used to in the United States. We had much bigger audiences. Huge audiences. Playing for 1000-1500 people is unusual for a woodwind quintet at least in those days. Sometimes perhaps 2000 people. The halls were full. It was nice.^"*

The 1962 Far East tour of the New York Woodwind Quintet was an enormous success.

The Quintet beautifully fulfilled the role of “musical ambassador” for the United States by

teaching, performing, graciously greeting audiences and signing autographs.

Upon returning to the United States the Quintet resumed an active touring

schedule, giving concerts in North Carolina. Pennsylvania, Connecticut. Minnesota, and

Indiana. In March of 1963 the Quintet toured extensively in the western part of the

United States. Concerts were given in Fort Collins. Colorado; Tucson, Arizona; San

Diego, San Francisco, and Modesto California; Eugene and Beaverton Oregon; Richland.

Baron, Journal, Vol. XII, 13 Oct. 1962.

” Baron, Journal, Vol. XII, 10 Oct. 1962.

45 Washington; Terrace and Prince Rupert, British Columbia.*^ The Quintet then went to

Alaska to play the Alaska Music Trail including the following cities: Petersburg,

Wrangell, Ketchikan, Sitka, Juneau, Homer, Kodiak, Anchorage, and Fairbanks. The end o f the tour was spend in some towns in Alberta and British Columbia, Canada. Due to conducting commitments Arthur Weisberg did not go on this tour and Donald Rosenthal was the substitute bassoonist for him.^^

In 1969, the Quintet returned to South America and Central America. The &st stop on the tour was Mexico: Monterrey and Mexico City. In Mexico City, members of the Quintet performed Mozart’s Sinfonia Concertante with the Mexico City Orchestra.

The Quintet also presented a quintet and flute recital.^’

The tour happened to occur immediately after President Nixon sent Nelson

Rockefeller. Governor o f New York, on a diplomatic mission through Central and South

America. In Mexico, the Quintet was mistakenly billed as “Quinteto de Alientos” rather than “Quinteto de Instrumentes de Viento” and it became a bit of a joke for the Quintet members. In Spanish, alientos means breath and courage. Ralph Froeiich stated at the time, “you need courage to be on this kind of tour."^* Oboist Ronald Roseman. in an oral history interview with me, said the following:

’■* Arthur Weisberg, oral history interview, 12 Mar. 1998.

Baron, Journal. Vol. XII.

^ Baron, Journal, Vol. XII, 10 Mar. - 9 Apr. 1963.

Baron. Tour Notebook, 15 May 1969.

Baron, Tour Notebook.

46 We followed Rockefeller by about foxir days. People hadn’t been allowed to protest against Rockefeller and we were unprotected. We ran into a couple of very bizarre incidents. One of our concerts got canceled because there was rioting in Curaçao. At another place in Nicaragua, which at that time was under a dictator, we went and played in a university town and someone threw a stink bomb at the concert. We were terrified. We wondered what was going to happen and we had a long drive back. In 6ct, the university students apologized because it didn’t represent them or the people there. We had no particular love for the regime in power, we were just there to play music.^’

In Managua, Nicaragua they presented a concert, made a television appearance, gave a concert at the national conservatory and then presented a university concert in

Leon. The university concert in Leon is where the above mentioned disturbance occurred. At the same concert, two firecrackers were set off and the two American

Embassy cars were spray-painted red. Ronald Roseman related the following as an example of Samuel Baron’s sense of humor during the situation:

We were really, pretty scared and we very comforted when the State Department guy lifted his jacket and showed he had brought a .38 magnum. We were coming by car and it was the car with Sam Baron in it. Sam said “you know, I don’t want you guys to worry about this kind of thing because I’ve seen a State Department memo that they had prepared and it said we were OK. It said ‘Dear Mrs. Roseman, Froeiich, Baron, etc. we regret to inform you that your husband and his woodwind quintet have been taken hostage by Sandinista guerrillas and we demand a ransom of $ 100 for their safe release. I’m sure that you understand that the United States government cannot give in to blackmail and yom husband and his colleagues have been executed. However, be reassured that another woodwind quintet will be sent in their place.” This was Sam Baron's

’’Roseman, 25 Sept. 1997.

47 humor. We were riding on this deserted road in the middle o f the night and he says this.• 60

The next stop on the tour was Bogota, Columbia. The members o f the Quintet did a performance with the Bogata Orchestra ofM ozart's Sinfonia Concertante and the

Hindemith Concerto for Woodwinds and Harp. For security reasons the Quintet remained in Bogota a few extra days and ended up giving a musicale for a cocktail party at the

American Ambassador’s residence and another television appearance.*'

In Venezuela the Quintet performed in Caracas. Maracaibo and Valencia and then traveled on Paramaribo, Surinam and Rio de Janeiro, Brazil. In Rio. members o f the

Quintet played Mozart’s Sinfonia Concertante with Charles Dutoit guest conducting the orchestra. The widow of Heitor Villa-Lobos attended the reception following the concert.*^ She remembered meeting the Quintet in New York in 1954 when it first learned of Villa-Lobos’ music and again when it was on tour in 1956." From Rio they traveled to

S3o Paulo. In Sâo Paulo, they each presented master classes and gave a quintet concert.

From Sâo Paulo, the Quintet traveled to Asuncion, Paraguay. In Asuncion, the

Quintet filmed a television broadcast, gave a workshop, presented a concert and a lecture- recital. Samuel Baron lectured on the history of the woodwind quintet in Spanish which

Roseman. 25 Sept. 1997.

Baron. Tour Notebook.

See Chapter 4 Connections with Composers.

Baron. Tour Notebook, 21 June 1969.

4 8 was very popular with the audience ” From Asuncion they traveled to Santiago, Chile, which was the last stop on the eight-week tour.

Throughout the rest of the South American tour, the Quintet did not experience any more trouble horn following the Rockefeller mission even though violent student disruptions had occurred with some police brutality in Asuncion. In both Brazil and

Paraguay, the newspapers bad been censored and not much was mentioned of the disturbance.**

In 1972. the New York Woodwind Quintet joined the Composer’s String Quartet and double bassist, Alvin Brehm for a nineteen concert tour of the Soviet Union. This was again sponsored by State Department’s Cultural Exchange Program.**

The Quintet and Quartet performed in Leningrad. Moscow. Kiev. Tbilisi. Yerevan.

Baku and Donetsk. The concerts were heard by an approximate total of 16,000 people and were very well received. David Glazer stated: “The audiences, often in sold-out houses, were most enthusiastic and responsive, necessitating the playing of two to three encores.”*’

The concerts were built around larger works like the Beethoven Septet, the

Schubert Octet and the Spohr Nonet but also included a variety of instrumental

Baron, Tour Notebook. 2 Jul. 1969.

“ Baron, Tour Notebook. 29 Jun., 1969.

** Raymond Ericson, “A Special Package for Russia.” New York Times 23 Jul. 1972.

*^David Glazer, “Report of Tour to the Soviet Union, May 5 - June4, 1972." This was a report written to the Department of State at the end of the tour.

49 combinations for smaller ensembles. In addition, the groups performed standard works

for string quartet and woodwind quintet. David Glazer mentioned the following in his

report to the State Department about audience reception to these concerts:

...they indicated their pleasure by prolonged applause and by complimentary comments after the concerts. Particularly mentioned were the unusual blend of quality of sound and the cohesive ensemble playing. The green room visitors were mostly performers and teachers who gravitated to their instruments o f interest and inquired about makes of instruments, types o f reeds and mouthpieces, etc. and many o f the cultural presentations were facilitated at this time. Often appointments were made for meetings with individuals who either wanted to play for us or wished to see and try our instruments for more detailed inspection. In almost all cases they would reciprocate generously with their own records, music or bottles o f wine, and there was a feeling of real gratitude on their part.

The State Department included money in the tour budget for the purchase of

recordings, scores, reeds, strings and mutes that the American musicians presented as

gifts.*® In Tbilisi and Yerevan the composers unions put together a meeting to give the

Americans the opportunity to exchange work. Scores of contemporary American music

were given to Soviet composers. Soviet composers presented the Americans with scores

and records. Members attended performances of students at the conservatories they

visited in Tbilisi and Yerevan. They would have liked to have heard groups and

individuals perform in Moscow. Kiev and Leningrad but were not encouraged to do so in

those cities. Ronald Roseman discussed the atmosphere sur*.ounding the Soviet tour:

Glazer.

50 It was 6scinatmg. The audiences were great but that was when it was a real bad time in U.S. - Russian relations. We had a lot of master classes that were canceled at the last minute. We had some fiinny experiences. We had played a concert in Leningrad. We were all enjoying ourselves and drinking. The State Department man came and said “I’ve got bad news for you guys. Nfaton just mined Haiphong Harbor [Vietnam]. If a Russian ship hits a mine, you guys will go directly to Siberia for the rest of your lives.” He wasn’t kidding. But since Russians wanted American grain more than they wanted to support their allies, it was fortunate for us. I wasn’t a Nixon 6n but when I saw him on Russian television I was so happy to see his fece. That was a little scary. We had a very nice experience outside from being a little frightened.*’

While in Moscow the Americans met the Georgian Minister of Culture and composer, Otar Taktakishvilli. They again met up with him when the tour took them to

Tbilisi, Georgia. In his report to the State Department, David Glazer wrote about

Taktakishvilli:

He came to all four of our concerts and after the final performance gave us a reception, a very unique and moving experience. There were a number of toasts on his part in gratitude for our concert performances and also to the success of the Moscow Talks between President Nixon and the So\iet Leaders, stressing also the role of music and other cultural media as catalysts in developing contacts between peoples. After a few ‘bottoms up’ toasts we reciprocated with like expressions. We all felt that these were very sincere feelings from a very warmhearted people, many of whom we had become fiiendly with during our six day stay, and who were grateful for our visit and music- making.™

^ Roseman, oral history interview, 25 Sept. 1997.

™ Glazer.

5 1 The success of the tour brought national attention to the New York Woodwind

Quintet and the Composer’s String Quartet. After returning, the Voice of America interviewed clarinetist David Glazer for twenty minutes. Arlene Francis did a forty-five minute interview with Anahid Ajemian, violinist. The New York Times reporter Raymond

Ericson interviewed David Glazer and violinist Matthew Raimondi. WQXR’s program

“The Listening Room.” conducted a two hour interview and record show with David

Glazer, Anahid Ajemian and Matthew Raimondi.^'

After the Soviet tour, activity for the Quintet hit a lull. Several personnel changes occurred.^ Arthur Weisberg left the group and bassoonist Donald MacCourt replaced him. Homist William Purvis repL ced Ralph Froeiich. In 1980. Thomas Nyfenger left and

Samuel Baron returned.

Shortly after Baron returned, the Quintet became a non-profit organization. Such status allowed the Quintet to apply for government grants. The Quintet was able to get fimding fi’om the National Endowment of the Arts and the New York State Council on the

Arts. The fimding allowed the Quintet to present a subscription series at Merkin Concert

Hall. The series lasted from 1985 to 1990. These grants also allowed the Quintet to commission works from Jon Deak, Yehudi Wyner and Ronald Roseman/’

In 1989 the Quintet traveled to Kuhmo, Finland. This came about through a connection with clarinetist Charles Neidich.

Anahid Ajemian, “Supplement to David Giazer's Report of Tour to the Soviet Union.

^ See Chapter 5 Personnel Changes.

^ Roseman.

5 2 I had met the director of the Finnish Kuhmo Festival originally at a chamber music festival in Okinawa, Japan. He talked to me about his festival and mentioned that he would like to increase the presence of winds there. He knew the reputation of the New York Woodwind Quintet, but thought it a long shot to get a group like that to come to the festival. I told him that if he was interested in having us, I was sure we would be interested in coming. A year later he phoned with a proposal. I asked the other fellows if they thought it would be interesting to go and they said yes.^"*

Today the Quintet continues to tour, although much less frequently than it did in earlier years. The market is not what it used to be for the New York Woodwind Quintet.

Charles Neidich described it as follows: “So you have a chamber music series and they book the Guaraeri String Quartet, the Juilliard String Quartet, and, to save money, the local woodwind quintet.”^’ It is an interesting irony since so many of the “local” quintets exist today because of the work the New York Woodwind Quintet inspired in the fifties and sixties. Even though the activity is not as great as it was in earlier decades, the

Quintet continues to stay together and actively perform. In recent years, it has also been asked to play at various scientific institutions across the United States such as Argonne

Labs and Fermi Labs in Chicago and Los Alamos. New Mexico.

The Quintet has a close connection with scientific institutes—Fermi Labs. Argonne. and Los Alamos. Scientists tend to have quite open minds. They are always interested in new pieces or works they don’t know.’*

’■* Charles Neidich. oral history interview, 6 Mar. 1998.

” Neidich.

Neidich.

5 3 In 1998 the Quintet traveled to Texas, California, Illinois, and Iowa77

^ Neidich.

54 CHAPTER 4

CONNECTIONS WITH COMPOSERS

The members of the New York Woodwind Quintet have had the privilege of working with many composers. As mentioned in Chapter 2. the Library of Congress commissions brought premiere performances of works by Richard Rodney Bennett,

William Bergsma. Irving Fine, Ezra Laderman, Gian Francesco Malipiero, Quincy Porter and Wallingford Riegger. In addition the Quintet has had the pleasure of premiering works by the following composers: Samuel Adler, Easley Blackwood, Elliot Carter, Jon Deak.

Alvin Etler, Karl Korte, Meyer Kupferman, John Lessard, Gunther Schuller, Ralph Shapey,

Alec Wilder and Yehudi Wyner.'

The Quintet has also given significant performances o f new works not written specifically for it. The Quintet’s performance of these compositions helped to bring them into the mainstream of woodwind quintet repertory. This list of composers includes:

Samuel Barber, Martin Bresnick, Arthur Berger, Philip Bezanson, Michael Colgrass, David

Diamond, John Harbison, Ernst Krenek, Gyorgy Kurtag, Gyorgy LigetL Bo Nillson,

George Perle, Wayne Peterson, Mel PoweU, Ronald Roseman, Murray Schafer, Arnold

Schonberg, Matyas Seiber, William Sydeman and Egon Wellesz.

' For more information on the works by these composers see Appendix A, Repertoire of the New York Woodwind Quintet.

5 5 The Baron Journals of the New York Woodwind Quintet had many entries about the Quintet meeting and working with Heitor Villa-Lobos, Samuel Barber, and Alec

Wilder. The Oral History Interviews with David Glazer and Bernard Garfield corroborated those entries.

On December 20. 1954, the Quintet played at the home of Carleton Sprague Smith.

Mr. Smith was chief of the music division at the New York Public Library.^ Heitor Villa-

Lobos was the guest of honor at the gathering. A few days later, Samuel Baron and

Bernard Garfield were able to join Villa-Lobos at his hotel for a coaching session on his

Bachianas Brasilerias. no. 6.^ In his journal Samuel Baron described the event as

“instructive and enjoyable.” In addition, Villa-Lobos asked to hear the entire Quintet for a session on his Quintette en Forme de Chôros. On the 1956 tour of South America, they again met the composer in Rio de Janeiro.

Samuel Barber first heard the New York Woodwind Quintet when they performed an afternoon concert near Barber’s summer home in Vermont.'* Barber was later a guest at the Quintet’s rehearsal on January 12. 1955. Here he took quite an interest in the

^ Leonardo DeLorenzo, Mv Complete Story of the Flute (Lubbock: Texas Tech UP, 1992) 277.

^ Baron. Journal. Vol. IL p. 22.

* David Glazer. oral history interview, 6 Oct. 1998.

56 intonation studies that John Barrows had sketched/ During the rehearsal, which occurred at John Barrows’ apartment, “Barber listened avidly, and made notes on Barrows’ notes.

[Barrows] had made an extensive chart incorporating a staff line for every pitch from the lowest to uppermost notes o f each instrument; from this it was possible to see at a glance the overlapping of ranges. Each player had “characterized” every note within the range o f his particular instrument: was it naturally flat or sharp on the instrument? dull or brilliant? Did it behave differently if it was played loudly or softly? From their observations, Barrows composed a series o f studies using the ‘worst’ chords -those where tone production and intonation were accomplished with great difficulty but resulted in sonorities that were especially effective. The group practiced these etudes, some of which were only four or five measures long, in order to master the more difficult chords.^

After eight months. Barber notified the Quintet that he had almost finished a woodwind quintet and asked them to read h. On November 14, 1955 Barber helped the

Quintet through a reading of Summer Music.

We were completely gassed! What a wonderful new quintet conception. Barber has studied our charts and has written some of our favorite effects. The piece is very hard, but so far it sounds just beautiful to us.

A slight pall was cast when Barber told us that we could not play the piece until after March 20, 1956, at which time it will be played in Detroit. We had hoped to do it in Washington.*

Baron. Journal, Vol. II, 12, Jan. 1955.

“ Baron, Journal. It is not known what exactly happened to these intonation sketches. One theory has them in the archives at the University of Wisconsin at Madison in some boxes that Mrs. Barrows donated to the university. The other theory is that Barber borrowed them, wrote Summer Music and never returned them.

’’ Barbara B. Heyman, Samuel Barber: The Composer and his Music (New York: Oxford, 1992) 365.

* Baron, Journal, Vol. II. 14 Nov. 1955.

57 The influence o f the Barrows studies are seen and heard at rehearsal no. 23 in the score. These measures consist of a chorale-like passage containing chords proposed in the

Barrows chart.

Barber had been commissioned in 1953 by the Chamber Music Society of Detroit to write a work for three woodwinds, three strings and piano but wrote Summer Music instead. The Chamber Music Society had requested that the published edition o f the commission have an inscription to the musicians performing the premiere and the Detroit

Chamber Music Society. The G. Schirmer publication does credit the Detroit performers but does not bear a dedication. “Barber composed Summer Music with the New York

Woodwind Quintet in mind and with their cooperation.”’ The work was premiered in

Detroit by the principal players of the Detroit Symphony: James Pellerite, flute; Amo

MariottL oboe: Albert Luconi. clarinet; Charles Sirard, bassoon; and Ray Alonge. horn.

On April 5. 1956 the New York Woodwind Quintet gave a private concert of

Summer Music at Gian Carlo Menotti's studio in New York.

Present were Barber, Menotti, David Hall and his wife. Jim Maher, Alfred Breuning, Walter Trampler, Ezra Laderman, and other people that are fiiends of ours. Barber's or Menotti's. It was an informal and fiiendly atmosphere, but not without tension for us. We played the ‘Summer Music' twice -once with the cuts Barber had asked us to do, and the second time without making one cut (31-33) which we preferred. Finally Barber was able to make up his mind on

9 Heyman, 361.

Samuel Barber. Summer Music (Milwaukee: G. Schirmer, 1957).

5 8 this cut and on other small compositional matters. I think the piece is now in its final form." Everybody expressed great delight with the composition and most people were very impressed with the way we played it. David Hall is interested in recording it, however, he made no offers or promises.'^

The New York Woodwind Quintet went on to perform the work many times that season and in the fiiture including a performance at Carnegie Recital Hall in New York City and on the 1956 South American tour. In addition, the Quintet recorded the work for Concert

Disc in 1959." The work is now a standard in the woodwind quintet repertoire.

Composer Alec Wilder was a very close fiiend o f horn player John Barrows. They had become fiiends when they were both at the Eastman School of Music. Even though

Barrows eventually left Eastman and finished his degree at Yale, the fiiendship endured.

Through the close fiiendship with John Barrows, Wilder became a finend to the New York

Woodwind Quintet. Mr. Wilder had a passion for steam trains and would often follow the

Quintet around on tours by train." During the 1956 Summer Evenings of Music Alec

Wilder came and stayed for awhile with the Quintet at the Marietta House. During his stay that summer Wilder composed Suite for Woodwind Quintet which is a solo suite, one solo for each instrument and the accompaniment of the other four." He composed two

' ' According to the Heyman book . the twelve-measure cut at rehearsal no. 31 was made after this meeting and prior to publication.

" Baron. Journal, Vol. IV, 5 April 1956.

See Appendix B.

'■* Glazer, oral history interview, 26 Sept. 1997.

Baron, Journal, Vol. V.

59 duets for bassoon and hom for Bernard Garfield and John Barrows. In addition. Wilder arranged several works for the New York Woodwind Quintet Quartet. The Quintet formed a barbershop quartet comprised o f Samuel Baron, Jerome Roth, Bernard Garfield. and John Barrows. Wilder arranged “Who,” “All Through the Night,” “Happy Birthday,”

“When I Grow Too Old to Dream,” “Good Night Sweetheart,” “Good Night Ladies.” and

“I Know That You Know.” The arrangement of “All Through the Night” had five parts since David Glazer had not been participating in the Quintet vocal quartet. Alec Wilder fek the group needed a piece for all to participate and Glazer finally took part in the singing.'* The Quintet Quartet would occasionally sing at parties and receptions following Quintet performances. The Quintet Quartet eventually adopted the name of the

“Sigh-Lo's.” Obviously the Quintet had marvelous relationship with Alec Wilder and he joined the Quintet in Milwaukee during the summers of 1956, 1957, 1958 and 1959.

Wilder stated the following about his stays at Marietta House:

I would spend the days composing for the quintet as well as writing wild vocal arrangements for four of them who loved to sing. I remember giving them the name of the Silos in honor of the talented recording singers called the Hi-Los. I wrote new harmonizations of comball songs, opulent harmonizations of standards, and a few original pieces. Nearly every evening at six the quartet would gather in someone’s bedroom to try out the new stuff

The relationship inspired numerous woodwind quintets, several barbershop quartets and incidental music for stage works such as Shakespeare’s Twelfth Night and

Baron, Journal. 13-4.

60 Alice in Wonderland. Alec Wilder was a regular visitor to New York Woodwind Quintet performances and had attended other concerts and rehearsals throughout the United States and the world.'* The Quintet performed several premieres of his works and championed his music by performing it on world tours. In 1961 John Barrows moved to Wisconsin.”

Wilder then wrote works for the Wingra Quintet, the resident quintet at the University of

^^Isconsin at Madison where John Barrows played after he left the New York Woodwind

Quintet. When John Barrows passed away in 1974 at the age o f sixty, his death was deeply mourned by Alec Wilder. “No matter what the circumstances or for whom I was ostensibly composing, everything I’ve written since I met John Barrows was written for him.”^°

Composer Alvin Etler also frequented Summer Evenings of Music and his two woodwind quintets were premiered there. In addition, the Fine Arts String Quartet and the New York Woodwind Quintet premiered his Sextet for Violin, Viola, Cello, Oboe,

Clarinet and Bassoon at the Art Institute of Chicago. The Quintet premiered his Concerto for Woodwind Quintet and Orchestra on their Far East Tour and premiered his Concerto for Violin and Wind Quintet at Carnegie Hall in New York City.^'

” Alec Wilder quoted in Desmond Stone, Alec Wilder in Spite of Himself (New York: Oxford UP. 1996) 127.

'* See Chapter 3, Domestic and World Tours for Alec Wilder’s role in the Quintet performing at the Cassis Festival. See also. Appendix B Repertoire of the New York Woodwind Quintet for premiere dates and dedications.

” See Chapter 5 Personnel Changes.

Stone, 109.

For more information and dates see Appendix B Repertoire of the New York Woodwind Quintet.

61 In 1954, the Quintet began performing on a concert series at Sarah Lawrence

College with the Chamber Repertory Group. This series continued throughout the 50s.

At Sarah Lawrence, the Quintet worked with composer Meyer Kupferman. The premiere performance o f the Kupferman Wind Quintet was March 6, 1959 at Reisinger Auditorium at Sarah Lawrence College on the Chamber Repertory Concert Series. The work is dedicated to the New York Woodwind Quintet and was written especially for the Sarah

Lawrence Chamber Series. Kupferman wrote another work for the Quintet in 1984 called

Sound Spells for Six which the Quintet premiered with pianist Gilbert Kalish.**

In 1958 the Quintet was invited to perform at the World’s Fair in Brussels.

Belgium and to make radio broadcast recordings throughout Europe. The Quintet members wanted to take a work by an American composer. They thought of playing the

Gunther Schuller Suite that he had written in 1945. Schuller instead wrote a new work for the Quintet. Gunther Schuller composed his Wind Quintet in 1958 and dedicated it to the New York Woodwind Quintet.*^ The premiere of the Schuller was presented on a radio broadcast at the Westdeutsch Rundfonk in Cologne. Germany. They later performed the work at Carnegie Hall and at the Library of Congress.

On the 1961 tour of Europe the New York Woodwind Quintet performed in

Amsterdam where they were able to meet the oboist of the Danzi Quintet.*'* The Danzi

Quintet was formed in 1956 by flutist Frans Vester, oboist Koen van Slogteren, clarinetist

“ Meyer Kupferman, phone conversation with author, July 1997.

^ Glazer, 26 Sept. 1997.

Baron, Journal Vol. XI, 6 Apr. 1961.

62 Pern Godrie, hom player Adriaan van Woudenberg, and bassoonist Brian Pollard.

Originally the Danzi Quintet was formed because o f Vester’s desire to perform Wind

Quintet, op. 26 by Arnold Schônberg.“

When the tour took the Quintet to Hilversum, Samuel Baron met Danzi Quintet

member, Frans Vester. The two flutists shared insightful conversation and played on each

others flutes. Baron found Vester to be an intense, dynamic colleague. Vester questioned

Baron as to why the New York Woodwind Quintet bothered with playing transcriptions

rather than just playing original compositions.*® This is always a question facing

woodwind quintets since the genre does not have the wealth of repertoire of a string

quartet. In particular, Vester was curious as to why the New York Woodwind Quintet

had not yet played the Schonberg.^’

Wind Quintet Opus 26 by Arnold Schonberg was premiered in 1924 at the

Viennese Theater and Music Exhibition with Anton Webern conducting.** The work is

written in dodecaphonic technique and takes almost an hour to perform. The New York

Woodwind Quintet performed the Schonberg for the first time January 17, 1964 at the

Library of Congress.*’ Baron described the work as “a universally acknowledged

“ Peter van Munster, “Frans Vester - A ‘learned musician,"' trans. Frieda Leia Jacobowitz, Concerning the Flute, ed. Rien de Reede (Amsterdam; Brockmans & van Poppel, 1984) 30.

Baron, Journal, 7 Apr. 1961.

Baron, Journal.

•* David Whitwell, A New History of Wind Music (Evanston: The Instrumentalist Company, 1980) 64.

29 See Appendix B, New York Woodwind Quintet Library of Congress Performances.

6 3 landmark of music.”^° Baron had wanted to play the work for some time and believed the

New York Woodwind Quintet’s performance at the Library of Congress set a new standard for the w ork/'

The Quintet’s more recent collaborations with composers include The Bremen

Town Musicians by Jon Deak commissioned jointly by the New York Woodwind Quintet and Purdue University, and New Composition for Woodwind Quintet by Yehudi Wyner commissioned by the Quintet. In addition, Ronald Roseman currently is filling a New

York State Council on the Arts commission to write a sextet for woodwind quintet and piano.

^ Sam Baron. “A Case of Malpractice - SchSnberg's Woodwind Quintet,” The Clarinet Winter (1987): 12.

31 Baron. Journal Vol. XII, 17 Jan. 1964

64 CHAPTERS

PERSONNEL CHANGES

During the formative years of the New York Woodwind Quintet changes in personnel were frequent.' After 1951, the Quintet became more firmly established.

There was a temporary change for the 1952-53 season when Murray P. nitz replaced

Samuel Baron who went to play with the Minnesota Orchestra.* Samuel Baron returned and the personnel was fairly constant until 1957. Of course, there were substitute musicians on occasion, but Baron, Roth, Glazer, Barrows and Garfield were the regular musicians in the Quintet during the 1951-1957 time period.

In January of 1957, Bernard Garfield auditioned and won the principal bassoon position in the Philadelphia Orchestra.^ At first this was a devastating blow to the Quintet.

It had just come off of its first overseas tour and was more in demand. Members spent a few months trying to find a new bassoonist. Several people auditioned for the spot. The bassoonist selected was .Arthur Weisberg.

I [Arthur Weisberg] had been playing around in various orchestras. The last one was Baltimore. 1 got really tired of

' See Chapter 2, section on Formative Years, 1947-1951.

* David Glazer, oral history interview, 26 Sept. 1997.

^ Baron, Journal, Vol. VI, 28 Jan. 1957.

65 playing in orchestras and I wanted to come back to New York to study conducting. I don’t know how I heard about it, but I heard that Bemie Garfield was going to Philadelphia and they were looking for a bassoonist. It was just the year that I was going back [to New York]. Obviously I was interested. I had known two of them [members] a little bit in the quintet. I got in touch with them, auditioned and got the job.‘‘

Jerome Roth described the transition:

I remember the very first time we met with Arthur Weisberg, who turned out to be our new bassoon player. But the first time—it was so strange because when there is one change out of five, that is devastation. I think it is tremendous especially when you have gotten to play in such a smooth manner. So I remember that at first rehearsal he seemed quite stuffy. But it is remarkable how sensitive he was. At the very next rehearsal it was such a complete change in his playing. He saw what was needed and he adjusted immediately. So he was another fabulous bassoon player. I really feel that it made for such a very smooth organization.^

Arthur Weisberg readily adapted to the ensemble, impressing the others by learning part quickly. Weisberg also acclimated to the New York Woodwind Quintet vocal

Quartet, the “Sigh-Lo’s.”

The Quintet ’s touring for extended periods of time took a toll on the members with fiunilies. This was particularly difficult for Jerome Roth. He had considered leaving but the Quintet provided him with a large portion of his income. He could not afford to leave without a secure job prospect. At that same time, Ronald Roseman was playing

■* Arthur Weisberg, oral history interview, 12 Mar. 1998.

* Jerome Roth, oral history interview, 4 Dec. 1997.

66 second oboe in the New York Philharmonic. Roseman stated the following about a chance to play in the New York Woodwind Quintet:

For various reasons I decided not to stay in the orchestra. Goltzer, the associate principal asked me if I really wanted to play second oboe for the rest o f my life. That ruined it for me. [Harold] Gomberg’s next choice was Jerry, who had also been a student of Gomberg’s. Jerry had thought of leaving the Quintet a few months before because his family was not happy having him on the road. Sam Baron had approached me and asked if I was interested. It had been my lifelong dream. But then Jerry changed his mind and decided to stay. But once he was offered the second oboe job in the Philharmonic that was perfect. He was happy. He had a secure job. a secure salary and did not have to travel. So we switched jobs. I p'ayed a concert with the Philharmonic, Bernstein conducting on Valentine's Day. Then we switched and the Quintet went on tour right away. Three weeks later we went to Europe. So my dream came true in spades. But I had to leam all the music in that short time. I still feel sometimes as if I am trying to leam all of the music.*

The next personnel change, which came in August of 1961, came as shock to the

Quintet. John Barrows annoimced he was leaving the Quintet because of health reasons.

Throughout, Barrows had suffered from health problems and doctors determined that if he continued to live as he had been by working too hard, worrying too much, and drinking too much, he would not get better. John Barrows then accepted an offer to teach hom at the University of Wisconsin at Madison. It seems that the decision was unanimous to ask

Ralph Froelich join the group.^ Froelich described it as follows:

‘ Roseman, oral history interview, 25 Sept. 1997.

^ Baron, Journal, Vol XII, 103-7.

67 They asked me and John Barrows was a very good friend of mine and I loved the guy. In feet, he was one o f my idols.*

The personnel o f the Quintet would remain Baron, Roseman, Glazer, Froelich, and

Weisberg until 1969, when flutist Samuel Baron announced he was leaving to pursue other interests. At that point, Thomas Nyfenger became the flutist. According to Nyfenger. he was “a full time sub for Sam Baron.”’

The next change occurred in 1972 when Arthur Weisberg left to devote more time to conducting.

I was getting too involved in conducting, really that was the problem. The tours were interfering with things that I was doing. I had formed the Contemporary Chamber Ensemble by then and they conflicted in time.'”

Donald MacCourt joined the Quintet as bassoonist in 1972. In 1973 Ralph

Froelich left the group to teach at the University of South Florida in Tampa. Homist,

William Purvis was asked to Join the Quintet on hom. Donald MacCourt and William

Purvis played their first concerts with the New York Woodwind Quintet during the 1973-

74 season. Donald MacCourt stated the following about his entrance into the New York

Woodwind Quintet:

Bill Purvis and I played our first concerts with the Quintet, together, in 1973. When 1 came to New York as a student in 1956, Garfield had just left the Quintet to go play in the Philadelphia Orchestra and Arthur Weisberg had just come

* Froelich, oral history interview. 17 Mar. 1998.

^ Thomas Nvfeneer. Music and the Flute (Guilford. Conn: Thomas Nyfenger, 1986) 145-146.

Weisberg, 12 Mar. 1998.

68 in. Of course, it never occurred to me in my wildest dreams that I would wind up following in their footsteps. II

William Purvis added the following about joining the Quintet at this time:

Don MacCourt came into the Quintet the year before I did but we actually played our Grst concert together since the group had been pretty much inactive for the previous season. The Grst time we played together was at the Bohemian Club in New York. It was not a public concert, but since it is a musicians club the small hall was packed with familiar distinguished faces of musicians I had looked up to since my student years—not so long before that since I was only 25 at the time! I can hardly remember a time I was more nervous for a performance, but it seemed to go well. The first public concert I played in the Quintet was soon after that at Lafayette College in Pennsvlvania. I remember stopping at Don’s house in New Je" i the way back, and a one point Tom and I were sii in the living room talking, and he began apologizing to me for how badly he had played that evening. O f course, I was trying to reassure him, which required no hypocrisy on my part since I believed that Tom was arguably the greatest flutist in the world, and was in awe of what he had done that evening. But at a certain point I was struck by how strange this was, and I said to him, “Wait a minute—you should be reassuring me that I sounded all right!

From all accounts Thomas Nyfenger was brilliant musician with a difficult personality.

This posed a challenge for the entire Quintet.

In 1980, Thomas Nyfenger left the Quintet and the rest of the members asked flutist Samuel Baron to return. William Purvis said the following about this transition:

Things had been building up with Tom for some time, and in the middle of a tour—I believe at the Seattle airport—he

“ Donald MacCourt, oral history interview. 6 Dec. 1997.

William Purvis, oral history interview, 7 Mar. 1998.

6 9 announced suddenly that he was leaving the group. The other four of us were stunned, and the thought was expressed that maybe we should just stop the Quintet, that it had had a long distinguished history and that maybe it was time. I was at quite a different stage of my career than the others, since I was quite a bit younger, and I argued strongly that we should continue, and suggested that we ask Sam to return to the group. Everyone agreed, and when Sam was asked he was quite enthusiastic, but his return did not occur as smoothly as we expected.

Soon after we played a concert at the 92"** Street Y in New York which was to be Tom’s last concert in the Quintet. Sam was in the audience eagerly looking forward to returning, and we had a great concert—a very emotional one for all of us. After the concert Ronnie, in a very impetuous moment, said, ‘Tom, it is not too late to reconsider this,” and so he decided he would stay in the group. O f course, this was awkward with Sam, but Sam was extremely understanding of Tom, and he responded with considerable grace. It turned out that Tom’s first impulse was actually right, and he left the Quintet during the next season.

The Quintet was thrilled when Samuel Baron returned. It gave the Quintet a great boost. Roseman remarked:

Sam came back in and it was Just the greatest thing that ever happened. The Quintet was really playing well. Bill Purvis was in it and Don MacCourt. We had a really nice 'esprit* and it was just like heaven. Everyone had just a great fiiendly attitude and it was so nice. Tom was a very dark guy. He was hard on himself and everybody else.''*

From 1980-1985 the Quintet was Baron, Glazer, Roseman, Purvis, and MacCourt.

Purvis. 7 Mar. 1998.

'■* Roseman, 25 Sept. 1997.

70 The next change occurred in 1985. After 34 years of playing in the Quintet, clarinetist David Glazer retired from Quintet. David Glazer “set an unparalleled record of continued and distinguished service to our quintet, to woodwind chamber music, and to clarinet playing.”'* Clarinetist Charles Neidich was asked to join.

The Quintet of Baron, Neidich, Roseman, Purvis, and MacCourt would remain intact until the untimely death of Samuel Baron in May o f 1997. Samuel Baron was fondly known as ‘Mr. Quintet’ by his colleagues and is sorely missed.

Carol Wincenc is the current flutist. She had been a colleague of Samuel Baron’s for many years at Juilliard and said the following about taking over for such an esteemed colleague:

It’s very natural in many ways because Sam was my quintet coach at school and had such an impact on the work that I did in that setting. He [Baron] is so missed but his presence is so real, for me. He had such an impact for me as a woodwind quintet coach. 1 imagine him in this setting. It is as if the chair has this little buzz on it. And of course. Tom [Nyfenger], I never studied with him but had crossed paths. In fact, my gold flute is the one I bought from him. So 1 also have a connection to Tom.

I feel particularly privileged to be doing these transcriptions [of Samuel Baron’s] of which there are so many.'* It is a real fret that someone lives through their music. It is a wonderful thing. Of course, all of those parts are in his handwriting, so it is a very specific kind of contact, especially through the pen.'’

” New York Woodwind Quintet Newsletter. 1985-86.

"* At the time of this interview, the New York Woodwind Quintet was preparing for a concert on April 8, 1998 at the Juilliard School in memory of Samuel Baron. Several Baron transcriptions were performed on that concert.

Carol Wincenc, oral history interview, 7 Mar. 1998.

7 1 He [Baron] reminded me regularly, through his example, that chamber music was the most civilized way of making music.'*

After the early years, which saw many players filter in and out of the group, the

1950s brought a stability to the New York Woodwind Quintet that has lasted for several decades. Personnel changes have occurred throughout the more than fifty year history but transitions have seemed, by and large, to work smoothly. In most cases, new memtxrs came into the ensemble by invitation. In all of the cases mentioned, the players who were invited to play were known to the remaining memtiers of the Quintet.

'* Carol Wincenc. “Reflections Upon Joining the New York Woodwind Quintet,” The Juilliard Journal Apr. 1998: 5.

7 2 Flute Oboe CUrlnet Banoon Horn 1947 ^ .___ .W M see Shapiro RidnrdOicae I Upfa^tM ' tg lErtHmna* ______iRrnvSm ■ AndioBy Otgliotti- l^botOdtzcr RdphPyte

Jerame Roth Tcfan Bnrows

1960

1970

Thomas Nyfogcr

1980

Donald MacCourt

Samud Baron 1990

I Card RAocamc 1999*------

Diagram 1: Chronology of Piayera

7 3 Figure 1: NYWQ 1947 - (L-R) Richard Gdic; diaries SchlFT Ross Tsgior. Bernard Garlidd, John Mack. (Photo Courtesy of Bernard Garfldd)

f V k ^ . 3.'^' . fi

FlyireZ: Members of NYWQ WoKT Chamber Figures: NYWQ 1949-(L-R) Wallace Shapiro, Flayers 1948- (L-R) Bernard Garfield, diaries Bernard Garfield, Ralph Gomberg, Raymond Ehrenber& Wallace Shapiro, Ralph Gomberg. AI ange, Samuel Baron. (Photo Courtesy of Bernard Garfield) (Photo Courtesy of Bernard Garfield)

7 4 Figure 4: NYWQ 19S1 - (L-R) Sanud Baron, Jerome Roth, Bem ad Garfield, Ralph I^ e. David Cfiaza. (Photo Courtesy of Bernard Garfield)

Figure 5: NYWQ (1951-1Ü57) - (L-R) Samuel Baron, Jerome Roth, Bem ad Gafield, John Barrows, David G laa. (Photo Courtesy of Bem ad Gafield)

7 5 nNiîiftTTlilTfr^l Flaire 6: NYWQ Far East Tour 1962- (L-R) Samuel Baron, Ronald Roseman, Ralph FVoeilch, Arthur Weisberg, David Glazer. (Photo Courtesy of Ralph FVoelldi)

Figure 7: NYWQ Soviet Union Tour 1972 - (L-R) Thomas Njrfenger, Ronald Roseman, Ralph FVoellch, Arthur Weisberg, David GHazer. (Photo Courtesy of David Glazer)

76 Figure 8: NYWQ (1974-1980) - (L-R) Ranald Roaeman, Donald MacCourt, David dazcr, Thoma: Nyfenger, William I\irvls. (Flioto Courtesy of David Glazer)

Figure 9: NYWQ (1980-1985) - (L-R) David Glazer, Donald MacCourt, William Purvis, Ronald Roseman, Samuel Baron. (Photo Courtesy of John Gingrich Management)

7 7 Figure 10: NYWQ (1985-1!>97) - (L-R) Ronald Roieman, Donald MacCourt, Charicf Nddldi, William Purvli, Samuel Baron. (Photo Courtesy of John Glngrldi Management)

i l

C/5

Figure 11: NYWQ (1997 te present) - (L-R) Ronald Roseman. Charles Neidich, Carol Wincenc, William Funds, Donald MacCourL (Photo Courtesy of Fine Arts Management)

7 8 MEMBER BIOGRAPHIES 1947-1999:

FLUTE:

Richard Giese was the first flutist to play in the New York Woodwind Quintet fi"om 1947 to February of 1948. He was a student of George Laurent and had been a student at

Tanglewood. He went on to play piccolo in the Baltimore Symphony from 1952-56.

From 1956-62 he played for Walt Disney, 20* Century Fox, the Los Angeles Opera and the Los Angeles Civic Light Opera Association. In 1965 he moved to New Zealand where he taught at the Victoria University of Wellington. 19

Charles Ehrenberg played in the New York Woodwind Quintet in 1948 when it was sponsored by Noah Wolff. Mr. Ehrenberg left the group and took job as principal flute with the Jerusalem Radio Orchestra. Once in Israel he changed his name to Chanoch Tel

Oren. His family was later involved in a tragic terrorist attack in which he lost a son and was himself injured in one of his hands.^°

Samuel Baron (1925-1997) joined the New York Woodwind Quintet in 1948. He left the

Quintet in 1969 to devote more time to pursue other interests. He returned to the Quintet in 1980. He began his musical studies on the violin but changed to flute in high school.

*’ Aldine K. Burks, Follow the Pipers Westfield: Aldine K. Burks, 1969.

Ray and Tamar Fames, letter to Stanley Blostein. 7 Mar. 1999.

7 9 He graduated from high school at age fourteen and then studied at the Henry Street

Settlement and Brooklyn College. From there he entered Juilliard. where he became a

student o f Geoiges Barrère and Arthur Lora. Baron performed in many groups during his

career: the New York City Opera Orchestra; Minneapolis Symphony (1952-53 season);

and the Bach Aria Group (1965 and became its director in 1980). He taught at the State

University of New York at Stony Brook (beginning in 1966), Yale (1966-68), Mannes

(1969-72) and Juilliard (beginning in 1971) where he was chair of the woodwind

department. In 1996. Chamber Music America gave Mr. Baron its National Service

Award in recognition of “a lifetime of exceptional contributions to chamber music.” In

August 1996 he was awarded the Lifetime Achievement .Award of the National Flute

Association at its 24"' Annual Convention held in New York City."’

Murray Panitz played in the New York Woodwind Quintet in 1952-53 when Samuel

Baron left to play principal flute in the Minnesota Orchestra. He. along with bassoonist

Bernard Garfield, was a student at the High School o f Music and Art, now called the

Performing Arts High School. Panitz attended the Eastman School of Music where he

studied with Joseph Mariano. He played principal flute in the National Symphony after

graduation from Eastman. During the war he played in the Air Force Band. Mr. Panitz

■'Nancy Toff and Gwen Powell. “Passing Tones,” The Flutist Quarterly Summer 1997: 26.

80 was best known as principal flute of the Philadelphia Orchestra from 1961 until his passing in 1989 “

Thomas Nyfenger (1936-1990) was in the New York Woodwind Quintet from 1969 to

1980. He received his degrees from the Cleveland Institute of Music (B.M.. M.M. and

Artist’s Diploma). He taught at Yale University from 1969 to 1990. Other faculty positions included Vassar College. State University of New York at Purchase, Queens

College, Mannes SchooL and the Manhattan School of Music. He was principal flute of the Pi o Arte and Y Chamber Symphonies and the Mostly Mozart and Casals Festival

Orchestras. He collaborated with the Tokyo, Guameri, Composers, Fine Arts and Lenox string quartets and the Lincoln Center Chamber Ensemble. He wrote the book Music and the Flute.^^

Carol Wincenc joined the New York Woodwind Quintet in 1997. A native of Bufialo,

New York she attended the Oberlin Conservatory but transferred and received her B.M. from the Manhattan School of Music. She received her M.M. from the Juilliard School and also has diplomas from Santa Cecilia Academy and Chigiana Academy of Music. Her teachers have included Severino Gazzelloni. Robert Willoughby, Harold Bennett, Arthur

Lora, and Marcel Moyse. Ms. Wincenc received a FuUbright grant and in 1978 won the

“ Eileen Grycky, “A Tribute to Murray Panitz," Flute Talk Nov. 1989; 22.

“ Thomas Nyfenger Music and the Flute (Guilford: Thomas Nyfenger, 1986) 145.

8 1 Naumburg Competition. She has toured Japan, Korea, Europe, and the Soviet Union.

Ms. Wincenc commissioned and gave world, European, and New York premieres of

Lukas Foss' Renaissance Concerto fo r Flute and Orchestra. Her other commissions

include: Concerti by Joan Tower. Paul SchoenHeld, Peter Schickele. Roberto Sierra,

Henryk Gorecki of Poland, Christopher Rouse, Tobias Picker, and Michael Torke. Ms.

)Mncenc has recorded on New World Records, Music Masters, Deutsche Grammophon,

Musical Heritage Society, Nonesuch, CRT, Telarc Records, and Decca. Her recording of

the Christopher Rouse Flute Concerto with Christoph Eschenbach and the Houston

Symphony was awarded the French Diapason D’Or Award. Ms. Wincenc was formerly

professor of flute at Indiana and Rice Universities and has been on the Juilliard School

feculty since 1988.*'*

OBOE:

John Mack was the first oboe player to play in die New York Woodwind Quintet in 1947

and 1948. Mr. Mack is best known as principal oboe of the Cleveland Orchestra, a

position he has held since 1965. Since 1965 he has taught at the Cleveland Institute of

Music where he is administrative chairman of the woodwind division and head of the oboe

department. He was a student of Bruno Labate and Harold Gomberg at Juilliard and was

a student of Marcel Tabuteau at the Curtis Institute of Music.*^

-■* “ Carol Wincenc,” Juilliard School. .

“ “John Mack,” Cleveland Institute of Music. .

8 2 Ralph Gomberg was the oboist in 1948 for the concerts sponsored by Noah Wolff. He had been a student of Marcel Tabuteau at the Curtis Institute of Music. Mr. Gomberg was principal oboe of the Boston Symphony from 1950 to 1987.

Ray Still played occasionally with the New York Woodwind Quintet in the early years.

He is best known as principal oboe of the Chicago Symphony, a position from which he retired in 1993. He gave the first Chicago Symphony performances o f the Mozart and

Strauss oboe concerti under Reiner. A member of the Kansas City Philharmonic at the age of nineteen, Mr. Still began studying oboe with Philip Memoli of MGM studios. He later studied briefly with Fernand Gillet and Bruno Labate. but was most profoundly influenced by his study with Robert Bloom. In 1947 he joined the Buffalo Philharmonic as first chair oboist under William Steinberg. He spent four years as first oboe with the

Baltimore Symphony, concurrently holding the post of solo oboe and English hom for

Washington's National Symphony Orchestra in 1950-51, and also played English hom with the New York Philharmonic during the siunmer o f 1953. Extremely active as a chamber music player, Mr. Still has performed with the Juilliard, Vermeer, Lenox, and Fine Arts

String Quartets and has recorded with the Fine Arts Quartet. He teaches at Northwestem

University.^*’

'XDboes in the Chicago Symphony," To The World’s Oboists. Dec. 1974 .

8 3 Albert Gohzer performed with the New York Woodwind Quintet in the early years. He

was associate solo oboe player in the New York Philharmonic from 1955 until his

retirement in 1984. Prior to coming to the Philharmonic, he had been solo oboist with the

St. Louis Symphony and the C.B.S. Symphony, and had also played with the WOR

Symphony. A native o f Brooklyn, Mr. Goltzer studied with Engelbert Brenner, Bruno

Labate, and Michel Nazzi. He attended the Institute o f Musical Art and won the

Gabrilowitsch Memorial Scholarship of the National Orchestral Association.

Jerome Roth played in the New York Woodwind Quintet from 1951 tol961. Mr. Roth

studied composition with Roy Harris and graduated from the Juilliard SchooL where he

studied with Bruno Labate and Harold Gomberg. Prior to his days in the Quintet, he

played principal oboe with the Adolph Busch Symphony, the Mozart Orchestra and the

Little Orchestra Society. In 1961, Mr. Roth left the Quintet to join the New York

Philharmonic as second oboist. He retired in 1992 and now teaches and performs on Long

Island, New York.**

Ronald Roseman has been a member of the New York Woodwind Quintet since 1961. He

performs as a soloist, recitalist and chamber music player. He is also a member of the

Bach Aria Group and was acting co-principal oboist with the New York Philharmonic for

“Oboes in the New York Philharmonie," To The World’s Oboists. Jul. 1973 .

Jerome Roth, letter to author, 15 Dec. 1997.

84 two years. He has been a frequent soloist with Musica Sacra at Avery Fisher HalL the

Chamber Music Society o f Lincoln Center and the New York Chamber Symphony, of which he was a founding member. Mr. Roseman has made more than 35 solo and chamber music recordings for Nonesuch, Desto, CRI, Decca. Vox. Roseman was a member of New York Pro Musica from 1957 to 1971. He studied composition with

Henry Cowell, Karol Rathaus. Elliott Carter, and Ben Weber. Chamber compositions by

Roseman include Three Psalms, written for the Da Capo Chamber Players; a woodwind quintet, written for the Aspen Quintet under a NBA Consortium Commissioning Grant: and a double quintet for woodwinds and brass, commissioned by the 1987 Norfolk

Festival. He is currently working on a sextet for woodwind quintet and piano that was commissioned by the New York State Council on the Arts. He has been on the faculty at the State University of New York at Stony Brook since 1969 and has taught at Yale since

1975. Mr. Roseman became a full professor at Queens College in 1982 and has been on the feculty at the Juilliard School since 1982.^’

CLARINET:

Charles Schiff played in the New York Woodwind Quintet in 1947 and 1948.

Wallace Shapiro was the clarinetist that played with the Quintet in 1948 when the New

York Woodwind Quintet was sponsored by Noah Wolff.

” “Ronald Roseman,” Juilliard School. < http://www.juilliard.edu/fâculty/rfàc.htm>.

8 5 Earl Thomas played with the Quintet on some of the early New York Wind Ensemble concerts. Mr. Thomas earned his degrees from the Juilliard School and the University of

Oklahoma. Mr. Thomas performed in the Dallas Symphony from 1950 to 1952 and the

Oklahoma City Symphony from 1952 to 1969. He joined the Lexington Philharmonic in

1969 and retired in 1992.^“

Anthony Gigliotti played with the Quintet when it toured the Mid-west in 1950. Gigliotti is a graduate of the Curtis Institute of Music and studied with his father and Daniel

Bonade. He became principal clarinet of The Philadelphia Orchestra in 1949 and retired in

1996. He also played with the Ballet Russe de Monte Carlo and the Little Orchestra

Society of New York. He has been a soloist and recording soloist with The Philadelphia

Orchestra. Mr. Gigliotti is a founding member o f the Philadelphia Woodwind Quintet.

He has taught at the Curtis Institute of Music for thirty years and currently coaches woodwind ensembles. Mr. Gigliotti also teaches at Temple University.^'

David Glazer Joined the New York Woodwind Quintet in 1951 and performed with the group until 1985. From 1946 to 1951 he played in the Cleveland Orchestra under George

Szell. A native of Milwaukee. Mr. Glazer received his degree from Wisconsin State

^E arl Morgan Thomas,” International Who's Who in Music and Musicians* Directory, ed. Adrian Gastner, (Cambridge: International Who’s Who in Music. 1980) 724.

“Clarinet Faculty,” Temple University Esther Boyer College of Music. .

86 College. He studied in Boston from 1937 to 1942 with Victor Polatschek. During World

War n he was stationed with the U.S. Army Band at Camp Crowder, Missouri. From there he was one o f the twenty-frve musicians selected to be in the newly formed U.S. Air

Corps Band in Washington, D C. where he served the Armed Forces for the rest o f the war. Mr. Glazer won recognition with his participation in the 1953 Casals Festival and afrer that was heard worldwide as a soloist with leading orchestras and as a guest artist with string quartets and chamber orchestras. He taught at State University of New York at Stony Brook, New York University, and at the Mannes School of Music.^‘

Charles Neidich joined the New York Woodwind Quintet in 1985 shortly after winning the 1985 Walter W. Naumburg Competition which catapulted him to prominence as a soloist. He received his B.A. in anthropology from Yale University and received his post graduate diploma from the Moscow State Conservatory. In 1975 he was the first

American to receive a Fulbright grant to study iii the Soviet Union. Mr. Neidich has collaborated with some of the world’s leading orchestras and ensembles, including the St.

Louis Symphony, Tafelmusik, and the Juilliard, Guaraeri. American, and Mendelssohn

String Quartets. Mr. Neidich is a member of the Orpheus Chamber Orchestra. He has premiered works by Milton Babbitt, Edison Denisov, William Schuman, Ralph Shapey.

Joan Tower and other leading contemporary composers. Recital appearances have been made at Lincoln Center's Alice Tully Hall and Chicago's Ravinia Festival with James

^ David Glazer. oral history interview. 18 Oct 1998.

87 Levine. He has recorded with the Musical Heritage Society and Deutsche Grammophon.

Mr. Neidich has taught at the Eastman School of Music and currently teaches at the State

University of New York at Stony Brook, Juilliard, and the Manhattan School of Music."*^

BASSOON:

Bernard Garfield was one o f the founding members of the New York Woodwind Quintet

in 1947. He, along with Murray Pankz, was a student at the High School of Music and

Art, now called the Performing Arts High School in New York City.^"* Mr. Garfield

received his degrees fi-om New York University and the Royal College o f Music in

London and a Masters firom Columbia University. Garfield left the New York Woodwind

Quintet in 1957 to join the Philadelphia Orchestra as principal bassoonist, a position he has

held ever since. He has appeared widely as a soloist, recording the Mozart Bassoon

Concerto and Weber’s Hungarian Fantasy with The Philadelphia Orchestra under

Ormandy. Mr. Garfield is on the faculty at Temple University and the Curtis Institute of

Music.^*

Arthur Weisberg joined the New York Woodwind Quintet in 1957 and played with the

group for fourteen years. Mr. Weisberg is an internationally acclaimed bassoonist.

” Rebecca Pryor, letter to author. 26 Aug. 1998.

^Eileen Grycky, “A Tribute to Murray Panitz,** Flute Talk. Nov. 1989: 22.

” “Bassoon Faculty,” Temple University Esther Bover College of Music.

88 conductor, author and composer and was a member o f the Houston, Cleveland, and

Bahhnore Symphonies, as well as the Symphony of the Air (formerly Arturo Toscannini’s

NBC Symphony. Mr. Weisberg is the author of The Art o f Wind Playing and Performing

Twentieth Century Music. He is the composer of more than forty works, now published by Kalmus. Mr. Weisberg was the founder and conductor of the Contemporary Chamber

Ensemble from 1961 to 1988. As music director he has conducted The New Chamber

Orchestra, the Orchestra da Camera, The Stony Brook Orchestra of the 20'*' Century, the

Chamber Orchestra Arizona and The Iceland Symphony. He currently conducts Ensemble

21 and the Hand Philharmonia. He has guest conducted the New York Philharmonic, the

Berlin Radio Orchestra, the Sjaellands Symphony, the Milwaukee Symphony, the Syracuse

Symphony, the Basle Radio Orchestra, the Aalborg Symphony, the Rochester

Philharmonic, and the Santa Cruz Symphony. He was awarded an ASCAP Citation “for consistent and devoted performance of new music and loyalty to its creation.” He also won a Laurel Leaf Award from BMI and ACA “for distinguished achievement in fostering and encouraging American music. He has taught at the Juilliard SchooL Manhattan

School o f Music, State University of New York at Stony Brook. Yale University, and

Arizona State University. He currently teaches at the Harid Conservatory in Boca Raton,

Florida.""

^ Arthur Weisberg, letter to author, Apr. 1998.

8 9 Donald MacCourt has been the bassoonist of the New York Woodwind Quintet since

1973. Mr. MacCourt received his B.A. from San Francisco State College and his M.M. from the Manhattan School of Music. He is also a member o f Speculum Musicae. as vvell as principal bassoonist o f the New York City Ballet Orchestra and a member of the New

York Chamber Symphony. Mr. MacCourt has been heavily involved in the performance and recording of chamber music, especially that of the twentieth century. Formerly, he was a member o f the Contemporary Chamber Ensemble, the Group for Contemporary

Music at Columbia University, the Symphony of the Air, and the National Symphony and

American Symphony Orchestras. He has recorded with the Nonesuch, CRI, New World,

Vox, Desto, Maiiboro, and Columbia labels. He is on the faculties of State University of

New York at Purchase and the Juilliard School.^^

HORN:

Ross Taylor graduated from the Juilliard School o f Music and was the horn player in the first New York Woodwind Quintet concerts in 1947 and 1948. He then went on to play in the Cleveland Orchestra for two years before pursuing other playing opportunities.

Ray Alonge played with the group when it was sponsored by Noah Wolff in 1948. He later became principal bora of the Detroit Sympiiony. As principal horn of Detroit, he

“Donald MacCourt,” Juilliard School. < http://www.juilliard.edu/faculty/mfac.htni>.

9 0 along with the other principal players premiered Samuel Barber’s Summer Music for the

Chamber Music Society of Detroit on March 20, 1956.

Ralph Pyle played with the group regularly from about 1948 until 1952, when he received

a position with the Los Angeles Philharmonic. Pyle received his musical education at

University of Southern California and the Julliard School. He was a founding member of

the Casals Festival orchestra. Mr. Pyle was active as a recording artist in the studios and

was a member of the Los Angeles Brass Quintet. He was a faculty member of the

California Institute of the Arts.^*

John Barrows (1913-1974) joined the New York Woodwind Quintet in 1952. He studied

horn at the Eastman School of Music and composition and cello at the Yale University

School of Music. Mr. Barrows played in many orchestras including the Minneapolis

Symphony and the New York City Opera and Ballet Orchestras, and the Casals Festival

Orchestra. He had also played in the Army Air Forces Band. Mr. Barrows held teaching

positions at Yale University and New York University. After leaving the New York

Woodwind Quintet in 1961, Barrows joined the music feculty at the University of

Wisconsin at Madison. There he performed in the Winagra Wind Quintet, the faculty

wind quintet at the University of Wisconsin at Madison.^’

Steve LaCoste. letter to author, 26 Jan. 1999.

“John Barrows,” International Horn Society. .

91 Ralph Froelich joined the New York Woodwind Quintet in 1961 after having played in the

New Art Wind Quintet. A graduate of the Juilliard School he performed with the Little

Orchestra Society of New York, The Orchestra of America, Symphony of the Air and the

NBC Opera Company. Mr. Froelich also performed in the Contemporary Chamber

Ensemble. He has been recorded on the Capitol Columbia, CRI, Decca, Everest. Musical

Heritage, Nonesuch, RCA Victor and Vox labels. Mr. Froelich has taught at Rutgers

University, State University of New York at Binghamton and Stony Brook, Queens

College, Vassar College, Mannes School of Music and Catholic University. He left the

Quintet in 1974 and joined the music faculty at the University of South Florida in Tampa where he played in the Ars Nova Woodwind Quintet. He retired in 1998 from the

University of South Florida.'”’

William Purvis joined the New York Woodwind Quintet in 1974. He studied with

Jacques-Louis Monod. Forrest Standley. James Chambers, and A. Robert Johnson. He received his B.A. in philosophy from Haverford College and did graduate work in composition at Hunter College. Mr. Purvis is a member of the Orpheur Chamber

Orchestra and the St. Luke’s Chamber Orchestra. He has also performed with Speculum

Musicae. Mr. Purvis has performed on original instruments as a member of Amadeus

Winds, the Boston Early Music Festival Orchestra, Mozarteum Players, and the Mostly

' Ralph Froelich, letter to author, Jan. 1999.

9 2 Mozart Festival. He is also a member of Mozzafiato, an original instrument wind sextet.

Mr. Purvis has collaborated with the Tokyo, Mendelssohn, Sibelius, Fine Arts and Orion string quartets and has appeared on tour as guest principal horn with the Chamber

Orchestra of Europe. He has recorded with Deutsche Grammophon, Sony Vivrte, Decca,

Nonesuch, Telarc, MusicMasters, New World, CRI and Bridge Records. Mr. Purvis teaches at State University of New York at Stony Brook and since 1989 the Juilliard

School where he is the coordinator of the New York Woodwind Quintet Chamber Music

Seminar .■*'

“William Purvis,” Juilliard School.

93 EPILOGUE

Through extensive touring, teaching and performing the New York Woodwind

Quintet has had a marked and lasting influence on the development of woodwind quintet literature and performance. Its legacy includes numerous performances at the Library of

Congress, domestic tours across the United States, world tours to South America,

Europe, the Far East, and the Soviet Union, collaborations with many well-known composers, numerous premiere performances, children's concerts for Young Audiences and residencies at various universities and colleges, including Summer Evenings o f Music at the University of Wisconsin at Milwaukee, a summer residency at Yale University's

Norfolk Festival and a current residency at the Juilliard School. Throughout the years the

Quintet has had return engagements at many of its performance venues and this is not only a tribute to its longevity but its popularity.

From 1947 to the present day the New York Woodwind Quintet has included a

number of distinguished musicians. Once establishing itself as a leading woodwind

chamber ensemble with members Samuel Baron, David Glazer, Jerome Roth. John

Barrows and Bernard Garfield, the Quintet has survived numerous personnel changes and

succeeded in keeping its reputation as one of the premiere woodwind chamber ensembles

in the world.

9 4 The New York Woodwind Quintet managed to achieve all of its accomplishments despite a financial climate that made it difficult, if not impossible, for such a group to support itself by performing alone. Indeed, members throughout the years have been and continue to be very successful fi-eelance musicians, and teachers. It is a tribute to the New

York Woodwind Quintet’s success and its perseverance that it survives in a financial culture that does not support chamber music.

The longevity o f the group is a tribute to the personal commitment of each member to keep the group together despite the difficulties. This can also be attributed to musical factors rather than economic ones. Ronald Roseman beautifully summed up why he believes the New York Woodwind Quintet has lasted:

It’s a terrific group. We get along veiy well. It just has to exist because it’s a first rate group that’s very important to each of us as individuals. We take seriously trying to teach. We take music very seriously. It’s not equal to surfing the web or watching television. It matters. What we think in terms o f expressive playing is very important. There is an awful lot o f dry mechanical woodwind playing going on in the United States. We don’t think that is the way to go. We care about the right notes, but in our teaching and our playing we work for expressivity and fireedom, a singing quality, and taking chances with the music. We agree on that wholeheartedly. We have very few artistic differences. Occasionally differences come up, and we’ll try one persons way and then another persons way, and never do the artistic discussions get nasty—a very civilized relationship. The world would be a better place if all got along as well as we do. It’s also an expression of your personal raison d’être. My best teachers have been the other members of the quintet. We teach each other, we leam fi"om each other. Arthur taught me how to double tongue, Sam taught me how to practice, Charlie—I leam fi-om him all the time by listening to hhn. It’s not always explicit learning; it’s just a shared kind of thing. I’m sure they leam a lot from me. We

9 5 watch each other in master classes and leam that way. So that's really nourishing for all o f us. To each of us it's an important part o f what defines us as musicians. It’s been our musical life, really. Each of us had had our periods when we did a lot o f other things but the Quintet is always what we come back to.'

We can all be grateful that they did come back to it. Let us hope that the next fifty years will be as productive and inspiring as the first fifty years for it is—a continuing

legacy.

Ronald Roseman. oral history interview, 25 Sept. 1997.

96 APPENDIX A

NEW YORK WOODWIND QUINTET REPERTOIRE

One of the greatest legacies of the New York Woodwind Quintet is its contribution to the woodwind quintet repertory. In its earliest days the Quintet revived existing works for the genre. Later the Quintet was the inspiration for several new works for woodwind quintet. A study of the repertory demonstrates that the Quintet has been and continues to be a champion of new literature. The repertoire list was made by going through New York Woodwind Quintet programs and the Samuel Baron Collection at the

Library of Congress. One will notice old woodwind quintet standards, works that have become new standards, and some more obscure works.

The dates for the premieres were found in various sources: Samuel Baron Journals o f the New York Woodwind Quintet; programs gathered from members of the quintet: and programs archived in the Baron Collection at the Library of Congress.

Composer dates were collected from the Green, Composers on Record: The New

Grove Dictionary of Music and Musicians and the Gavlord Music Library Music

Necrology web site at .

Publisher information was taken from the Rangel-Ribeiro and Markel Chamber

Music: the Secrist-Schmides Wind Chamber Music: the Peters Literature of the

Woodwind Quintet: Hosek’s The Woodwind Quintet: the Pepper Music Network Online

97 Catalog at ; Koenigsbeck’s Bassoon Bibliography;

Christopher Weait’s Private Music Collection; The Edwin A. Fleisher Collection of

Orchestral Music in the Free Library ofPhiladelphia: International Who’s Who in Music and Musicians’ Dh-ectorv: Wilcox Chamber Music Library; Rehrig’s The Heritage

Encyclopedia of Rand Music and Vester’s Flute Repertoire Catalogue.

98 REPERTOIRE OF THE NEW YORK WOODWIND QUINTET*

Adler, Samuel b. 1928 Songs with Winds (1967) ' A serenade for soprano and Woodwind Quintet on Poems of Kenneth Patchen” published by Oxford University Press Commissioned by Harpur College, SUNY Binghamton. Premiere Performance by New York Woodwind Quintet Feb. 13, 1968, Fine Arts Building, State University of New York at Binghamton.

Bach, CPE (1714-1788) Rondo Andantino Arranged by Alec Wilder

Bach, J.S. (1685-1750) Passacaglia and Fugue in c minor Arranged Jerome Roth contact Jerome Roth for publication information

Bach, J. S. (1685-1750) The Art of the Fugue for string Transcribed by Samuel Baron quartet and woodwind quintet

Bach, J. S. (1685-1750) Nun Komm* Der Heiden Heiland Transcribed by Samuel Baron

Badings, Henk (1907-1987) Quintet #2 (1948) published by Donemus

Barber, Samuel (1910-1981) Summer Music, Op. 31 ( 1956) published by G. Schirmer First performance March 20, 1956 Detroit Chamber Music Society. Written in collaboration with New York Woodwind Quintet.

B: n, Samuel (1925-1997) Rhapsody on a Chasidic Time

B: vs, John (1913-1974) March (1941) published by G. Schirmer

'This also includes some of the smaller chamber pieces that have been played on New York Woodwind Quintet concerts.

99 Barthe, A. (1853-1923) Passacaille ( 1899) published by Southern in the Andraud Collection

Bartok, Bela (1881-1945) Suite of Pieces from Arranged Ross Taylor Gyermekeknek (Hungarian and Rumanian Folk Songs arranged for children)

Bavicchi, John b. 1922 A Musical Sketch Book for flute, oboe, clarinet, bassoon and piano (1960)

BavicchL, John b. 1922 Woodwind Quintet No. 1, Op. 43 published by BKJ Publications

Beethoven Ludwig van (1770-1827) Variations on “La ci darem la Transcribed by Ronald Roseman mano" from Mozart’s Don Giovanni ( 1796-97)

Beethoven, Ludwig van ( 1770- Quintet in E-Flat Major. Op. 4 1827) (1796) Transcribed by Moredhai. Rechtman published by Music Sales Corporation Opus 103 is the Wind Octet. Beethoven did a version for strings published as opus 4. This transcription by Rechtman is of the string version of the work.

Beethoven, Ludwig van (1770- Quintet in E-Flat Major, Op 16, for 1827) piano, oboe, clarinet, horn and bassoon published by Breitkopf and HSrtel

Beethoven, Ludwig van (1770- Quintet in E-Flat Major, Op. 71a 1827) (originally for sextet) published by Theodore Presser

Bennett, Richard Rodney ( 1936) Wind Quintet ( 1967-1968) published by Universal Premiere given at Library of Congress on January 31, 1969 by New York Woodwind Quintet on a concert sponsored by the Gertrude Clarke Whittall Foundation. Commissioned by the Serge Koussevitsky Foundation at the Library of Congress.

100 Berger, Arthur b. 1912 Quartet in C Major for Woodwinds (1941) flute, clarinet, oboe and bassoon published by C. F. Peters

Berger, Arthur b. 1912 Wind Quintet (1984, revised 1990) published by C. F. Peters

Bergsma, William (1921-1994) Concerto for Woodwind Quintet (1958) published by Galaxy Music Performed by New York Woodwind Quintet on the Founder’s Day Concert, The Library of Congress. The Elizabeth Sprague Coolidge Foundation. October 30, 1958, Premiere of William Bergsma's Concerto for Wind Quintet. The holograph is in the Library of Congress

Bernard, Emile (1843-1902) Divertissement. Op. 36 for double quintet published by Durand

Bezanson, Philip (1916-1975) Sextet for piano and winds published by American Composers Alliance

Bezanson. Philip (1916-1975) Quintet ( 1959) published by American Composers Alliance The Quintet had met Bezanson during their visits to Coe College in Cedar Rapids, Iowa. During a visit in 1958 they had performed Bezanson's Sextet tor piano and winds. Upon returning in 1959 for a few day residency they were presented with this Quintet.

Birtwistle. Harrison b. 1934 Refrains and Choruses (1957) published by Universal

Blacher, Boris (1903-1975) Divertimento for flute, oboe, clarinet, and bassoon published by Associated Music Publishers

Blackwood, Easley b. 1933 Pastorale and Variations, Op. 11 (1961) for woodwind quintet published by G. Schirmer Premiered by New York Woodwind Quintet on January 19, 1962, Chicago, Illinois. First New York Performance February 9, 1962 at The New School. Performed at the Library of Congress February 23, 1962 The Gertrude Clarke Whittall Foundation Concert.

lOI Bozza, Eugène (1905-1991) Scherzo, Op. 48 (1944) for woodwind quintet published by Leduc

Bozza, Eugène (1905-1991) Variations sur un thème libre. Op. 42(1943) for woodwind quintet published by Leduc

Brahms, Johannes (1833-1897) Piano Quartet in G minor. Op. 25 Transcribed by Samuel Baron Originally for piano, violin, viola and cello. This transcription is for piano and woodwind quintet. New York Premiere September 25, 1984, Carnegie Recital Hall.

Brahms, Johannes (1833-1897) String Quartet A Minor, Op. 51, Transcribed by Samuel Baron No. 2

Bresnick, Martin b. 1946 Just Time (1985) Commissioned by the Norfolk Chamber Music Festival and was premiered by students of the New York Woodwind Quintet at the Norrblk Festival

Brod, Henri (1801-1839) Quintet Op. 2, No. 1 published by McGinnis and Marx

Bruns, Victor b. 1904 Quintet, Op. 16 published by McGinnis and Marx

Buxtehude. Dietrich (1637-1707) Sonata for Five Wind Instruments Arranged by Alec Wilder

Caplet, André ( 1905-1974) Quintet for Piano, Flute. Oboe, Clarinet, and Bassoon published by Hurstel

Carter, Elliot b. 1908 Eight Etudes and a Fantasy (1949- 50) for Woodwind Quartet published by Associate Music Publishers

Chretien, Hedwige (1859-1944) Quintette published by Southern Music in the Andraud Collection

102 Coelha, Joaquim Pedra da Galeia

Colgrass, Michael b. 1932 Quintet for Woodwinds published by Music Corporation of America

Colomer, B. M. Menuet and Bourrée published by Southern Music in the Andraud Collection

Dahl, Ingolf(l912-1970) Allegro and Arioso (1942) published by McGinnis and Marx

Damase, Jean-Michel b. 1928 17 Variations, Op. 22 (1950) published by Leduc

Danzi, Franz (1763-1826) Quintet in Bb, Op. 56, No. 1 published by Kjos

DanzL Franz (1763-1826) Quintet in g minor. Op. 56. No. 2 published by McGinnis and Marx

Danzi. Franz (1763-1826) Quintet in G Major. Op. 67. No. 1 published by McGinnis and Marx

DanzL Franz ( 1763-1826) Quintet in e minor. Op. 67. No. 2 published by International

DanzL Franz (1763-1826) Quintet in E flat. Op. 67. No. 3 published by Foreign Music Distributors

DanzL Franz (1763-1826) Quintet in A Major, Op. 68. No 1 published by Foreign Music Distributors

DanzL Franz (1763-1826) Quintet in d minor (piano) published by G. Schirmer

Deak, Jon The Bremen Town Musicians The Grimm's fairy tale set for woodwind quintet, and jointly commissioned by Purdue University and the New York Woodwind Quintet. Was premiered during the New York Woodwind Quintet tour to Yale. SUNY Stony Brook, Orono Maine, Memphis. Tennessee and Purdue in November 1985. The work was jointly commissioned by the quintet and Purdue University. New York Premiere on February 23, 1986. Merkin Concert Hall.^

■ New York Woodwind Quintet. “Newsletter. 1985-86.”

103 Deslandres, Adolphe (1840-1911) Trois Pièces en Quintette published by Southern Music in Andraud Collection

Denisov, Edison (1929-1996) Wind Quintet (1969) published by European American Music Corporation

Diamond, David b. 1915 Quintet (1958) published by Peer-Southern Music New York Premiere March 3. 1959 at Carnegie Recital Hall. The Quintet by David Diamond was written on a commission by the Fromm Foundation.

Donato, Anthony b. 1909 Quintet for Winds (1955) published by Camara

Donovan, Richard (1891-1970) Quartet for Woodwinds (1953) published by Valley

Douglas. Richard Roy b. 1907 Dance Caricatures ( 1939) published by C. F. Peters

D’Rivera. Paquho b. 1948 Aires Tropicales published International Opus

Dvorak, Antonin (1841-1904) Piano Quintet in A Major, Op. 81 Transcribed by Samuel Baron ( 1887) fo r piano and woodwind quintet World premiere performance given by New York Woodwind Quintet on December 6, 1988, Merkin Concert Hall Originally for piano and string quartet.

Dvorak, Antonin (1841-1904) String Quartet in F Major, Op. 96 Transcribed by Georges Barrère “American”

Eppert, Carl F. (1882-1981) A Little Symphony, Op. 52 (1933) published by Music Publishers Holding Company

Escobar, Luis Antonia b. 1925 Quinteto de la Coruba (1959) The Quintet met Escobar on their 1956 South American Tour in Bogota, Colombia. In the Baron Journals, Baron mentioned that Escobar was a good friend to the Quintet on the tour and was writing a woodwind quintet that he would send to them.

104 Etler, Alvin (1913-1973) Concerto for Woodwind Quintet and Strings (1946) published by Associated Music Publishers

Etler, Alvin (1913-1973) Quintet No. 1 (1955) published by Associated Music Publishers Premiered on July 9, 1956 at the Marietta House at UW-M. was written for The New York Woodwind Quintet. The New York Woodwind Quintet premiered the work, recorded it, and performed it on their tours in South America and Europe, as well as in the United States.

Etler, Alvin (1913-1973) Quintet No. 2 (1958) published by Associated Music Publishers World Premiere July 21, 1958 at the Summer Evenings of Music University of Wisconsin at Milwaukee.

Etler, Alvin (1913-1973) Quartet for oboe, clarinet, viola and bassoon published by Associated Music Publishers

Etler, Alvin (1913-1973) Concerto for Woodwind Quintet and Orchestra (1960) published by Associated Music Publishers World Premiere with Japan Philharmonic Symphony Orchestra. October 18, 1962 Tokyo, Japan at Tokyo Metropolitan Festival Hall

Etler, Alvin (1913-1973) Sextet for Violin, Viola, Cello. Oboe, Clarinet, and bassoon published by Associated Music Publishers Premiered with members of the Fine Arts Quartet on March 22, 1959 in Fullerton Hall at the Art Institute of Chicago sponsored by Contemporary Concerts, Inc.

Etler, Alvin (1913-1973) Concerto for Violin and Wind Quintet (1962) published by Associated Music Publishers Premiered at Carnegie Recital Hall December 3. 1958 with Gabriel Banat as Violin Soloist and the New York Woodwind Quintet.

Fauré, Gabriel (1845-1924) Piano Quartet in C Minor, Op. 15 Transcribed by Samuel Baron for piano and wind quintet

Fine, Irving (1914-1962) Partita for Wind Quintet ( 1949) published by Boosey and Hawk es

105 Fine, Irving (1914-1962) Romanza for Wind Quintet ( 1962) published by Boosey and Hawkes Commissioned by the Elizabeth Sprague Coolidge Foundation. Premiere by New York Woodwind Quintet, Feb. 1, 1963, Coolidge Auditorium at the Library of Congress.

Foerster, Joseph (1859-1951) Quintet Op. 95 in D Major (1909) published by Hudebni Matice Umelecké Besedy, Praga currently out of print

Forsythe, Malcolm b. 1936 Quintette (1986) published by Canadian Music Centre U. S. Premiere given on September 29. 1987 at Merkin Concert Hall

Françaix, Jean (1912-1997) Quartet for Woodwinds published by Schott

Françaix, Jean (1912-1997) Quintette (1949) published by Schott

Françaix, Jean (1912-1997) Quintette No. 2 pour instruments à vent(1987) published by Schott New York Premiere on 11/15/89 Merkin Concert Hall, New York Woodwind Quintet

Garrido-Lecca, Celso b. 1926 Suite Musica de Teatro

Goeb, Roger (1914-1997) Quintet No. 2 published by Peer-Southern

Goodman, Joseph b. 1919 Quintet (1954) published by Tetra

Haas, Pavel (b. Brno, 1899; d. Quintet for Winds, Op. 10 (1929) Auschwitz, 1944) published by Theodore Presser

Harbison, John (1938- Quintet (1979) published by Associated Music Publishers

Haydn, Joseph ( 1732-1809) Divertimento in Bb Major published by Theodore Presser

106 Haydn, Joseph (1732-1809) London Trio, No. 1 published by International

Haydn, Michael (1737-1806) Divertimento in D (flute, oboe, bassoon, horn) published by Hofineister

Heiden, Berhard b. 1910 Sinfl)nia (1949) published by Associated Music Publishers

Henze, Hans Wemer b. 1926 Quintet (1952) published by Schott

Hindemith, Paul (1895-1963) Kleine Kammermusik, Op. 24, No. 2(1922) published by Schott

Ibert, Jacques (1890-1962) Trois Pièces Brèves (1930) published by Leduc

Ibert, Jacques (1890-1962) The Little White Donkey published by Musicians Publications

Ingelbrecht, Desire-Enûle “La Nursery” Suite - Group of Arranged by Alec Wilder French Children’s songs

Janàcek. Leos (1854-1928) Mladi (sextet for winds) (1924) Woodwind Quintet with bass clarinet published by Artia Edition, Prague

Jolivet, André (1905-1974) Serenade pour Quintette à vent avec Hautbois principal (1946) published by Billaudot

Jongen, Joseph (1873-1953) Concerto, Op. 124 (1942) published by Southern Music

Josten, Wemer (1885-1963) Canzona Seria for Flute Oboe, Clarinet, Bassoon, and Piano (1957) published by Elkan-Vogel

107 Kander, Hugo Quartet for oboe, clarinet, horn and bassoon

Kay, Norman Forber Miniature Quartet for flute, clarinet, bassoon and horn published by Oxford University Press

Klughardt, August (1847-1902) Quintet, Op. 79 published by Zimmerman

Kokkonen, Joonas b. 1921 Wind Quintet (1973) published by G. Schirmer

Korte, Karl b. 1928 Matrix for woodwind quintet (with saxophone), piano and percussion. Published by Seesaw Music Corporation World Premiere April 18, 1968 at Roberson Center for the A r^ . nd Sciences, Sears-Harkness Hall, Binghamton, NY. Performed by New York Woodwind Quintet with Elizabeth Korte, piano; Albert Hamme, saxophone; and Christian Granger, percussion

Krenek, Ernst (1900-1991) Pentagram (1957) published by Bârenreiter

Kupferman, Meyer b. 1926 Wind Quintet (1958) available through Soundspells Productions Premiere performance March 6, 1959 Reisinger Auditorium at Sarah Lawrence College on the Chamber Repertory Concert Series. The work is dedicated to the New York Woodwind Quintet and written especially for the Sarah Lawrence Chamber Series.

Kupferman, Meyer b. 1926 Sotmd Spells for Six: Sextet for Winds and Piano (1984) available through Soundspells Productions Premiered by New York Woodwind Quintet and Gilbert Kalish

Kurtag, Gyorgy b. 1926 Wind Quintet, Op. 2 (1959) published by Boosey and Hawkes New York Premiere given by the New York Woodwind Quintet on September 26, 1985, Merkin Concert Hall

LadermanEzra b. 1924 Five Trios and Fantasy for Woodwind Quintet (1972) World Premiere performance at the Library of Congress on Nov. 24, 1972 with New York Woodwind Quintet with Baron filling in for Nyfenger on flute, Roseman, Glazer, Weisberg, Froelich. Gertrude Clarke Whittall Foundation Concert.

108 Laderman Ezra b. 1924 Wind Octet (1957) published by Oxford University Press Work was performed at Sarah Lawrence College on a Chamber Repertory Group Concert on March 7, 1958.

Laderman Ezra b. 1924 Sextet for woodwind quintet with string bass published by American Composer’s Alliance

Lawner, Mark b. 1910 Suite for Woodwind Quintet

Leedy, Douglas b. 1938 Quintet for Winds (1962) World Premiere April 17, 1964 at the New School

Lefebvre, Charles (1843-1917) Suite Op. 57(1910) published by International and by Southern Music in the Andraud Collection

Lessard. John Quintet (1970) published by Joshua Corporation Premiered by the New York Woodwind Quintet.

Levine, Julius Quintet The Baron Journals spoke of working with this composer and of a recording session on Feb. 3, 1957 to make a tape for the piece for broadcast on WNYC.

Ligeti. Gyorgy b. 1923 Six Bagatelles (1953) published by Schott

London, Edwin b. 1929 Woodwind Quintet (1958) published by MJQ

Malipiero, Gian Francesco ( 1882- Sonata a quattro. for flute, oboe, 1973) clarinet and bassoon ( 1954) European American Music Corporation Composed in memory of Elizabeth Sprague Coolidge and commissioned by the Elizabeth Sprague Coolidge Foundation. Performed at the Library of Congress on Nov. 19, 1954.

Malipiero, Riccardo b. 1914 Musica da Camera for woodwind Quintet(1959) published by Zerboni

109 Martino, Donald b. 1931 Concerto for Wind Quintet (1964) performed in one movement published by E. C. Schirmer

McBride, Robert b. 1911 Four Pieces (Cuatro Milpas) published by American Composers Alliance

McBride, Robert b. 1911 Five Winds Blowing published by American Composers Alliance

Mendelssohn, Felix ( 1809-1847) Octet for Strings in E-Flat Major, Transcribed for double woodwind Op. 20 quintet by Samuel Baron New York Premiere January 6, 1989 at Carnegie Hall on a concert featuring the University of Missouri-Columbia, Missouri Arts Quintet.

Milhaud, Darius (1892-1974) La Chiminée du Roi René (1939) published by Max Eschig

Milhaud, Darius ( 1892-1974) Scaramouche, Suite for Saxophone arranged by Donald Stewart a rj Wind Quintet pi.blished by Salabert

Milhaud, Darius (1892-1974) Sonata pour Flute, Hautbois, Clarinette et Piano (1918) published by Durand

Morançon, Guy Trois Pastorales

Moritz, Edvard b. 1891 Quintet, Op. 41 published by Southern Music and the Andraud Collection

Moussorgsky, Modest (1839-1881) Ballet of the Unhatched Chicks Arranged by Kessler from “Pictures at an Exhibition” published by McGinnis and Marx

Mozart, Wolfgang Amadeus (1756- Cassazione in Eb for Ob, Cl, Hn, 1791) Arranged by Andraud and Bassoon published by Southern Music

no Mozart, Wolfgang Amadeus (1756- Divertimento in Bb for woodwind 1791) trio published by International

Mozart, Wolfgang Amadeus (1756- Fantasia in F minor K. 594 1791) Arranged by W. Meyer originally composed for mechanical organ published by G. Schirmer

Mozart, Wolfgang Amadeus (1756- Quintet for Piano and Winds in Eb, 1791) K452 for Piano, Oboe, Clarinet, Horn and Bassoon (1784) published by C. F. Peters

Mozart, Wolfgang Amadeus (1756- Quintet in F 1791) Arranged by Cailliet published by Theodore Presser

Mozart, Wolfgang Amadeus (1756- Sinfonia Concertante - for oboe, 1791) clarinet, horn and bassoon published by Breitkopf and Hârtel

Mozart. W.A. (1756-1791) String Quartet in G Major, K. 387 Transcribed by William Purvis (written between 1782 - 1785)

Musgrave, Thea b. 1928 Impromptu (1967) for flute and oboe published by Chester

Musgrave, Thea b. 1928 Wind Quintet (1993) New York Premiere given by New York Woodwind Quintet April 27. 1994. World premiere was given ly Orpheus Wind Quintet, March 18. 1993. Commissioned by the Barlow Endowment for Music Composition at Brigham Young University.

Nielsen, Carl (1865-1931) Kvintet, Op. 43 (1922) published by Wilhelm Hansen Musik-Forlag

Nilsson, Bo b. 1937 Zwanzig Grüppen (1958) published by European American Music Corporation

I ll Normand, Albert (Quintette Op. 45 (1890?) published by Southern Music in the Andraud Collection

Onslow, George (1784-1853) Woodwind Quintet, Op. 81 (1852) published by Leuckhart

Orrego-Salas, Juan b. 1919 Divertimento, Op. 43 for flute, oboe, bassoon (1956) published by Peer-Southern Music

PercevaL Julio (1903-1963) Trio, Serenade for flute, oboe, and bassoon published by EClC

Perle, George b. 1915 Quintet, Op. 37 published by Theodore Presser

Perle, George b. 1915 Quintet for Winds No. 2, Op. 41 (1960) published by Theodore Presser

Persichetti, Vincent (1915-1986) Serenade No. 1 for 10 Wind Instruments, Op. 1 (1929) Brass Quintet and Woodwind Quintet published by Elkan-Vogel

Persichetti, Vincent (1915-1986) Pastorale, Op. 21 (1943) published by G. Schirmer

Peterson, Wayne b. 1927 Metamorphoses (1967) for Wind Quintet published by Seesaw Music Corporation

Piemé, Gabriel ( 1863-1937) Pastorale published by Southern Music in the Andraud Collection

Pietsch, Edna Frida b. 1894 Suite for Woodwind Quintet (1953)

112 Piston, Walter (1894-1976) Quintet for Instruments (1956) published by Associated Music Publishers The New York Premiere of the work was given by New York Woodwind Quintet, March 10, 1958. The Piston Woodwind Quintet had its first performance at the Library of Congress, January 24. 1957 by The Boston Woodwind Quintet (Dwyer, flute; Gomberg, oboe; CiofR, clarinet; Walt, bassoon; and Stagliano. horn) on a program through the Coolidge Foundation.

Piston, Walter (1894-1976) Three Pieces for Flute, Clarinet, and Bassoon (1926) published by Associated Music Publishers

Porter, (Quincy ( 1897-1966) Quintet for woodwinds ( 1960) published by C. F. Peters Composed for the Sigma Alpha Iota American Music Awards program. Premiered by New York Woodwind Quintet, Library of Congress January 27. 1961. sponsored by The Gertrude Clarke Whittail Foundation.

Poulenc. Francis (1899-1963) Sextet for Piano and Woodwind Quintet (1932) published by Chester

PowelL Mel (1923-1998) Divertimento for Five Winds (1955) Trumpet replaces horn published by G. Schirmer

Powell. Mel ( 1923-1998) Woodwind Quintet (1985) published by G. Schirmer New York Premiere given by New York Woodwind Quintet Feb. 10. 1987. Merkin Concert Hall. Commissioned by the Sierra Woodwind Quintet and premiered by them in March of 1985.

Purcell, Henry (1659-1695) Pavane and Chaconne (c. 1680) Arranged by Alec Wilder published by Margun Music. Inc.

Quinet, Marcel b. 1915 Quintette (1949) published by Centre Beige de Documentation Musicale

Quinet, Marcel b. 1915 Eight Little Pieces published by Centre Beige de Documentation Musicale

113 Ravel, Maurice (1875-1937) Le Tombeau de Couperin Transcribed by Gunther Schuller published by Margun Music, Inc.

Reicha, Anton (1770-1836) Quintet in Eb, Op. 88, No.2 published by Western International

Reicha, Anton ( 1770-1836) Quintet in Bb, Op. 88, No. 5 published by Edition Kneusslin, Basel

Reicha, Anton (1770-1836) Quintet in C, Op. 91, No. 1 published by Foreign Music Distributors

Reicha, Anton (1770-1836) Quintet in A minor. Op. 91, No. 2 published by Edition Kneusslin. Basel

Reicha, Anton ( 1770-1836) Quintet in D, Op. 91, No. 3 published by Foreign Music Distributors

Reicha, Anton (1770-1836) Quintet in E Minor Op. 100. No. 4 published by Foreign Music Distributors

Ricaud, Capitaine Henri Pastoral Suite for Woodwind Quintet Ricaud is a Frenchman who v/as chief of music at the Palace in Cambodia and head of the Harmonie Royale. Mr. Ricaud wrote this piece and dedicated i: to the New York Woodwind Quintet after hearing them on their tour through Cambodia.^

Riegger. Wallingford (1885-1961) Woodwind Quintet, Op. 51 (1952) published by Schott

Riegger, Wallingford (1885-1961) Concerto for Piano and Woodwind Quintet, Op. 53 (1953) published by Associated Music Publishers Premiered by New York Woodwind Quintet with Rosalyn Tureck, piano. February 19. 1954. Library of Congress, sponsored by Elizabeth Sprague Coolidge Foundation. Commissioned by Serge Koussevitzky Music Foundation. Dedicated to the memory of Natalie and Serge Koussevitzky.

Riegger, Wallingford (1885-1961) Three Canons for flute, oboe, clarinet and bassoon. Op. 9 published by Merion Music

Baron Collection, Library of Congress.

114 Rieti, Vittorio (1898-1994) Concerto for Woodwind Quintet and Orchestra (1923) published by Salabert

Rietz, Julius (1812-1877) Konzertstuck for Woodwind Quintet and Orchestra Op, 41 published by Breitkopf and HSrtel

Roseman, Ronald b. 1933 Double Quintet (1987) published by Phantom Press Publications New York Premiere on Nov. 7. 1988 with The American Brass Quintet, Merkin Concert Hall. The work was commissioned by the Norfolk Chamber Music Festival and dedicated to Joan Panetti, the director of the Norfolk Festival.

Roseman, Ronald b. 1933 Five Renaissance Compositions Transcribed for Woodwind Quintet 1. Donna di dentro by H. Isaac 2. J'ai pris amours by H. Isaac 3. 11 est bel et bon by Passereau 4. Ricercar bello: Canzon sopra (11 est bel et bon) by Girolamo Cavazzoni 5. In Meinen sinn by H. Isaac

published by E. C. Schirmer

Roseman, Ronald b. 1933 Woodwind Quintet (1986) published by Phantom Press Publications

Rosetti, Francesco Antonio ( 1746- Quintet in Eb 1792) published by McGinnis and Marx

Rossini, Gioacchino (1792-1868) Quartet No. I in F Major for flute, clarinet, bassoon and horn published by European American Music Corporation

Rossini, Gioacchino ( 1792-1868) Quartet No. 2 in G Major for flute, clarinet, bassoon and horn published by European American Music Corporation

115 Rossini, Gioacchino (1792-1868) Quartet No. 3 in F Major for flute, clarinet, bassoon and horn published by European American Music Corporation

Rossini, Gioacchino (1792-1868) Quartet No. 4 in Bb Major for flute, clarinet, bassoon and horn published by European American Music Corporation

Rossini, Gioacchino (1792-1868) (Quartet No. 5 in D Major for flute, clarinet, bassoon and horn published by European American Music Corporation

Rossini Gioacchino (1792-1868) Quartet No. 6 in F Major for flute, clarinet, bassoon and horn published by European American Music Corporation

Rusch. Milton Festival Quintet for Woodwinds (1964) World Premiere given June 29, 1964 by the New York Woodwind Quintet at the Summer Evenings of Music at the University of Wisconsin at Milwaukee.

Schafer, R. Murray b. 1933 Minnelieder for mezzo soprano and woodwind quintet published by Berandol

Schibler. Armin ( 1920-1986) Kaleidoskop published by Simrock

Schmid, Heinrich Kaspar ( 1874- Quintet, Op. 28 (1914) 1953) published by European American Music Corporation

Schonberg, Arnold ( 1874-1951) Quintet for Wind Instruments, Op. 26(1924) published by Belmont Music Publishers

Schubert, Franz ( 1797-1828) Variations in Bb Major, Op. 82, Transcribed by David Goldstein No. 2 published by G. Schirmer

116 SchuUer, Gunther b. 1925 Suite for Woodwind Quintet (1945) published by McGinnis and Marx

SchuOer, Gunther b. 1925 Quintet (1958) published by Margun Music, Inc. Dedicated to the New York Woodwind Quintet, premiered on Sept. 9, 1958, Westdeutsch RundAmk, Cologne, Germany.* The New York premiere took place on the March 10* program at Carnegie Recital Hall. They also performed the work at the Library of Congress on a Whittail Foundation Concert on Feb. 23, 1962 and again on a Whittail Foundation Concert on Jan. 8, 1971.

Seiber, Matyas ( 1905-1960) Permutazioni a Cinque ( 1958) published by European American Music Corporation The New York Woodwind Quintet performed this work at Carnegie Recital Hall on December 21, 1962 on an International Society of Composers of Music (ISCM) concert.*

Serebrier, José b. 1938 Pequefia musica (1955) published by Peer-Southern Music

Shapey, Ralph b. 1921 Movements (1959-60) for woodwind quintet published by Theodore Presser

Sherwood. Gordon H. Quintet Op, 10

Shulman. Alan Folk Songs for Wind Quintet published by Houser

Starer, Robert b. 1924 Serenade published by Houser

Stravinsky, Igor (1882-1971) Eight Instrumental Miniatures Arranged by William Purvis

S weelinck, Jan ( 1562-1621) Variations on a Folksong for Transcribed by Ernst Lubin Woodwind Quintet published by Goosey and Hawkes

* Baron Collection Box 3.

* Baron. XII, 21 Dec. 1962.

117 Sydeman, William b. 1928 Woodwind Quintet No. 2 (1961) published by McGinnis and Marx

Szalowski Antoni (1907-1973) Quintet (pub. 1956) published by McGinnis and Marx

Tafifenel, Paul (1844-1908) Quintette (1887) published by Southern Music in the Andraud Collection

Thuille, Ludwig (1861-1907) Sextet in Bb, Op. 6 (1888) for piano and woodwind quintet published by International

Tomasi, Henri (1901-1971) Quintette (1952) published by Theodore Presser

Tower, Joan b. 1938 Prelude published by American Composers Alliance

Urbout, Jack Serenade

VanVactor. David b. 1906 Scherzo

Veress, Sandor (1907-1992) Sonatina for Oboe, Clarinet and Bassoon (1931) published by Edizioni Suvini Zerboni

Villa-Lobos. Heitor (1887-1959) Bachianas Brasileiras no. 6 for flute and bassoon published by Associated Music Publishers

Villa-Lobos, Heitor (1887-1959) Choros for Flute and Clarinet published by Editions Max Eschig

Villa-Lobos, Heitor (1887-1959) Quintette en forme de Chôros ( 1928) published by Editions Max Eschig

Vivaldi Antonio (1675-1741) Concerto in G minor for flute, oboe and bassoon published by International

118 Weisberg, Arthur b. 1931 Quintet (1990) Written specifically with the New York Woodwind Quintet in mind.

Wellesz, Egon (1885-1974) Suite for Woodwind Quintet, Op. 73(1950) published by Music Verlag Hans Sikorski

Wilder, Alec (1907-1980) Alice in Wonderland Suite (1958) for woodwind quintet and percussion published by TRO Ludlow Music, Inc. distributed by Margun Music, Inc.

Wilder, Alec ( 1907-1980) Quintet ( 1953) World premiere New York Woodwind Quintet, Carnegie Hall Feb. 17, 1954. Also performed at the Library of Congress on a Coolidge Foundation Concert, Nov. 19, 1954.

WUder, Alec ( 1907-1980) Quintet No. 1 (1954) published by Margun Music, Inc. Premiere performance March 30, 1954 Great Neck, New York. Great Neck Junior High School Auditorium

Wilder, Alec (1907-1980) Quintet No. 2 (1956) published by Margun Music, Inc. World premiere New York Woodwind Quintet, Feb. 15, 1957, Sarah Lawrence, Chamber Repertory Group

WUder, Alec (1907-1980) Quintet No. 3 (1958) published by TRO Ludlow distributed by Margun Music, Inc.

WUder, Alec ( 1907-1980) Quintet No. 4(1960) to be published by Margun Music, Inc. Premiered by New York Woodwind Quintet, Memorial Art Gallery, March 20, 1960, Rochester, NY. This work, also known as the “Aloha” Suite was written for Bernard Garfield when he left the Quintet to go to the Philadelphia Orchestra. According the Baron Journals, three of the movements are beautiful and serious in nature and the fourth movement is a joke for Garfield.

WUder, Alec (1907-1980) Quintet No. 5 to be published by Margun Music, Inc.

WUder, Alec (1907-1980) Quintet No. 6 to be published by Margun Music, Inc.

119 WOder, Alec (1907-1980) Quintet No. 7 to be published by Margun Music. Inc.

Wilder, Alec (1907-1980) Suite for baritone saxophone, French horn and Woodwind Quintet (1966) published by Margun Music World Premiere. New York Woodwind Quintet. July 11. 1966, University of Wisconsin at Milwaukee. Summer Evenings of Music. Glenn Bowen, baritone saxophone; John Barrows, horn.

Wilder, Alec (1907-1980) Stage Music for Shakespeare's 12 Night published by Margun Music. Inc. Performed in the Cassis. France on in 1958 during the New York Woodwind Quintet’s trip to Europe for the World’s Fair. Jerome Hill sponsored an outdoor theater in Cassis and the Quintet performed incidental music written by Wilder for the Shakespeare play.

Wilder, Alec (1907-1980) Solo Suite for Woodwind Quintet (1956) for solo instruments and woodwind accompaniment Scherzo for flute Air for Clarinet Andante for oboe Blues for horn Buffoonery for bassoon to be published by Margun Music. Inc. World Premiere. New York Woodwind Quintet, April 12. 1957, Music House. 152 West 88’’’ St.. New York

WUder. Alec (1907-1980) Suite for Woodwind Quintet (1966)

WUder, Alec (1907-1980) The World’s Most Beautiful Girls for Woodwind Quintet (1955) to be published by Margun Music. Inc.

Winkler, Peter b. 1943 Recitative E Terzetto (1980) for oboe, clarinet and bassoon New York Premiere given by the New York Woodwind Quintet on December 6, 1988 at Merkin Concert H all. This piece was written on a commission from the University of Redlands New Music Ensemble.

120 WoK Kenneth Concert Variations on an Original Theme

Wooldridge, David b. 1931 Wind Quintet, Op. 12 (1958) published by Hinchinbroke Music

Wyner, Yehudi b. 1929 New Composition for Woodwind Quintet This work was commissioned and premiered by New York Woodwind Quintet. First performance, Carnegie Hall, February 3, 1984.

121 APPENDIX B

SELECTED' DISCOGRAPHY AND FILMOGRAPHY

As mentioned in Chapter Two the New York Woodwind Quintet spent the summers of 1955 through 1968 at the University of Wisconsin at Milwaukee in residence with the Fine Arts String Quartet. The Fine Arts String Quartet lived in the Chicago area and had their own recording company called Concert Tapes and Concert Disc. Many of the early recordings of the Quintet were through Concert Disc. Other early recordings were made through Golden Crest Records which was run by Clark Galehouse. a close fiiend of Alec Wilder's." “Galehouse looked up to Alec as to a god, and whenever he could get something o f his in his catalog, he would do it."^ This benefited the Quintet since they fi-equently played Wilder’s music. Also included in this list is a filmography with the one of the four films that the Quintet made for the Ford Foundation. The Library of Congress Music Division Concerts are also listed with the date, repertoire, and Library of Congress call number.

' The selections for the discography were made by searching RILN abstracts. OCLC, the Baron Collection at the Library of Congress and the Library of Congress Catalogue.

^Garfield, oral history interview. 10 Mar. 1998.

^ Samuel Baron quoted in Desmond Stone, Alec Wilder in Spite of Himself (New York: Oxford UP. 1996) 127.

122 NEW YORK WOODWIND QUINTET DISCOGRAPHY

Date Title and Works Artists Label Catalogue Number 1950 Milhaud: Sonata for Samuel Baron, flute; EMS EMS 6 Flute, Oboe, Clarinet and Ralph Gomberg, Recordings Piano; La Cheminée du roi oboe; Wallace René; Pastorale for Oboe, Shapiro, clarinet; Clarinet, and Bassoon Bernard Garfield, Elaine Music bassoon; Raymond Shop Alonge, horn; Milton Kaye, piano

1950 HilL Edward Burlingame: New York Columbia CML 4846 1959 Sextet for Piano and Woodwind Quintet Woodwind Quintet with Lilian Kallir; ML 4846

1950 Wilder: Quintet No. 1 ; New York Philharmonia PH 110 1959 Villa-Lobos: Quintette en Woodwind Quintet Records forme de chôros; Bachianas Brasileiras. no. 6

1957 Wilder: Quintet No. 2 for New York Golden Crest CR3019 Woodwind Quintet; Woodwind Quintet Wilder: Suite for Woodwind Quintet; 3 transcriptions by Wilder of works by PurcelL Buxtehude and C.P.E. Bach. Also includes an arrangement of the popular song, Dinah

123 Date Title and Works Artists Label Catalogue Number 1950 French Windwind Music: Samuel Baron, flute: Esoteric ES 505 1959 Milhaud, T af^eL Ibert, Albert Gohzer, Records Bozza oboe; Wallace Shapiro, clarinet; Bernard Garfield, bassoon; Raymond Alonge, horn

1951 French Windwind Music: Samuel Baron, flute; Counterpoint CPT 505 1958 Milhaud, Taf&neL Ibert, Albert Gohzer, Bozza oboe; Wallace Shapiro, clarinet; Bernard Garfield, bassoon; Raymond Alonge, horn

1957 Alec Wilder sketches the New York Golden Crest CR 3020 world's most beautiful Woodwind Quintet girls with the New York Woodwind Quintet. Liza, Have you met Miss Jones, Ellen, Sweet Lorena. Murrayhill, Honeysuckle Rose, Peg o’ my heart. Sweet Lorraine, Mimi, Sleepytime gaL Girl on the magazine cover. A pretty girl is like a melody. In my harem, Jeannie with the light brown hair. Sweet Sue, Mah Lindy Lou, arranged by Alec Wilder

1958 Carter: Eight Etudes and a Murray Panhz, Composers CRI 118 Fantasy David Glazer, Recordings, Jerome Roth, Inc. CRI Bernard Garfield SD 118

124 Date Title and Works Artists Label Catalogue Number 1958 Hindemith: Kleine Samuel Baron, Concert Disc CS 205 Kammermusik, Op. 24, Jerome Roth, David no. 2; Danzi: Quintet Op. Glazer, Bernard M 1205 67, no. 2 Garfield, John Barrows

1958 Spohr: Nonette in F, Op. Members of the Fine Concert Disc CS 201 31 Arts Quartet and the New York M 1201 Woodwind Quintet with Harold Siegel, double bass

1959 Dahl: Allegro and Arioso Samuel Baron, Concert Disc CS216 for Five \\Tnd Instruments Jerome Roth, David (1942), Glazer, John M 1216 Barber: Summer Music; Barrows, Arthur Etler: Quintet for Winds Weisberg (1955)

1959 Mozart: Piano Quintet in Frank Glazer, piano; Concert Disc CS213 Eb, K. 452 Jerome Roth; David Glazer; John M 1213 Barrows; Arthur Weisberg

1960 Bach: Art of the Fugue Fine Arts Quartet Everest 3335/2 1969 and New York Woodwind Quintet

125 Date Title and Works Artists Label Catalogue Number 1960 Beethoven: Septet in Eb, Members of the Fine Concert Disc CS214 Op. 20 Arts String Quartet: Leonard Sorkin, M 1214 violin; Irving Ilmer, viola; George Sopkin, cello; David Glazer, clarinet; John Barrows, hom; Arthur Weisberg, bassoon; Harold SiegeL, double bass

1960 Wilder: Quintet No. 2 for New York Golden Crest CR 4028 woodwind quintet; Woodwind Quintet Wilder: Suite for Woodwind Quintet; 3 transcriptions by Wilder of works by Purcell, Buxtehude and C.P.E. Bach. Also includes an arrangement of the popular song, Dinah

1960 Wilder: Alice in New York Riverside RLP 1406 1969 Wonderland Suite Woodwind Quintet; Cyril Ritchard, SDP 22 narrator

1960 Carroll, Lewis: Through New York Wonderland 1969 the Looking Glass; music Woodwind Quintet; Records by Alec Wilder Cyril Ritchard, narrator

1960 Françaix: Quintet for Samuel Baron, Everest SDBR 3080 1969 Winds; TafFanel: Jerome Roth, David LPBR 6080 Quintette Glazer, John Barrows, Arthur Weisberg

126 Date Title and Works Artists Label Catalogue Number I960 Hindemith; Octet for Members of the New Concert Disc CS218 1969 Clarinet, Bassoon, Horn, York Woodwind Violin, 2 Violas, Cello and Quintet and the Fine M 1218 Double Bass Arts Quartet, Harold SiegeL double bass

1960 Poulenc: Sextet for Piano New York Everest LPBR and Woodwind Quintet; Woodwind Quintet Records 6081 Riegger: Concerto for with Frank Glazer, Piano and Woodwind piano SDBR Quintet, Op. 53 3081

1960 Schubert: Octet for Fine Arts String Everest SDBR Strings and Winds, Op. Quartet and Records 3082 166 members of the New York Woodwind LPBR 6082 Quintet

I960 Woodwind Encores: New York Everest SDBR 3092 1969 Reicha: Finale from Woodwind Quintet Quintet in Eb; Pieme: LPBR Pastorale; Barrows: 6092 March: Wilder: Up Tempo from Quintet No. 1; VanVactor: Scherzo; Sweelinck: Variation on a Folk Song; Ibert: Trois Pieces; Milhaud: La Cheminée du Roi René

1960 Laderman: Theme, New York Composers CRI 130 Variations and Finale Woodwind Quintet Recordings and the Saidenberg Chamber Players, Samuel Baron, Conductor

127 Date Title and Works Artists Label Catalogue Number 1960 Spohr: Nonette in F, Op. Members o f the Fine Bârenreher BM 30 1969 31 Arts Quartet Musicaphon L 1804 Leonard Sorkin, violin; Irving Ilmer, viola; George Sopkin, cello; Harold SiegeL bass and members of the New York Woodwind Quintet Samuel Baron, Jerry Roth. David Glazer, Bernard Garfield, John Barrows

1960 Ward, Justine Bayard Members of the Catholic 1969 Cutting Beaux Arts String Education Ten Centuries o f Song - Quartet and Press Music VIII members of the New Accompaniments to songs York Woodwind of Book Eight Quintet

1961 Françaix: Quintet for New York Concert Disc CS 222 Winds; Tafifanel: Woodwind Quintet Quintette Connoisseur Series M 1222 Concert-Disc Presents the New York Woodwind Quintet in Hollywood California

1961 Poulenc: Sextet for Piano Frank Glazer, piano; Concert Disc CS 221 and Winds; Riegger: Samuel Baron, Concerto for Piano and Jerome Roth, David M 1221 Woodwind Quintet, Op. Glazer, Arthur 53 Weisberg, John Barrows

128 Date Title and Works Artists Label Catalogue Number 1961 Schubert: Octet for Fine Arts String Concert Disc CS 220 Strings and Winds, Op. Quartet and 166 members of the New M 1220 York Woodwind Quintet

1962 Bach: The Art of the Fine Arts String Concert Disc CS 230 Fugue Quartet and the New CS 250 York Woodwind Ml 2300 Quintet 1964 M 1250

1962 Beethoven: Septet in Eb, Members of the Fine Bârenreiter MN30 Op. 20 Arts String Quartet: Musicaphon L 1807 Leonard Sorkin, violin; Irving Ilmer, viola: George Sopkin, cello; David Glazer, clarinet; John Barrows, horn; Arthur Weisberg, bassoon; Harold Siegel, double bass

1963 Carter: Eight Etudes and Samuel Baron, Concert Disc CS 229 a Fantasy; Schuller: Ronald Roseman, Woodwind Quintet David Glazer, John Barrows, Arthur Weisberg

Connoisseur Series

1963 Fine: Partita for Wind New York Concert Disc M 1229 Quintet; Carter: Eight Woodwind Quintet Etudes and a Fantasy; Schuller: Quintet

129 Date Title and Works Artists Label Catalogue Number 1963 Spohr: Nonette in F Members of the Fine Saga STXID Major, Op. 31 Arts Quartet and the 5147 New York Woodwind Quintet with Harold SiegeL double bass

1964 Carroll: Alice’s Read and sung by Murray Hill M2387 Adventures in Cyril Ritchard, music Wonderland; music by performed by the Alec Wilder New York Woodwind Quintet

1964 Villa-Lobos, Heitor: Samuel Baron, flute Nonesuch H 71030 Quintette en forme de Jerome Roth, oboe; Records chôros David Glazer, H 1030 Bachianas brasilerias, no. clarinet; Bernard 6 for flute and bassoon Garfield, bassoon; John Barrows, hom

1965 Nielsen: Quintet, Op. 43; New York Concert Disc CS 254 Villa-Lobos: Quinteto en Woodwind Quintet forma de chôros and M 1254 Bachianas Brasileiras, no. Connoisseur Series 6

1966 Danzi: Quintet in Bb, Op. New York Nonesuch H 1108 56, no. 1 ; Quintet in E Woodwind Quintet Mono minor. Op. 67, no. 2; Quintet in G minor. Op. H 71108 56. no. 2 Stereo

130 Date Title and Works Artists Label Catalogue Number 1969 Hindemith: Octet for Members of the New Bârenreiter BM 304 Clarinet, Bassoon, Horn, York Woodwind Musicaphon 1808 Violin, 2 Violas, Cello and Quintet and the Fine Double Bass Arts Quartet, Harold SiegeL double bass

1972 Mozart: Quintet in Eb for Frank Glazer with Orion ORS 7281 Piano and winds members o f the New York Woodwind Quintet, Ray StiU, oboe; John Barrows, hom. Also includes the Fine Arts Quartet and Quintet K. 407 for hom and strings and the Oboe Quartet, K. 370.

1970 Bach. J. S. : Art of the The Fine Arts Everest 3335/2 1973 Fugue (complete) Quartet and New 1979 York Woodwind Quintet: Samuel Baron. Ronald Roseman, David Glazer Ralph Froelich, Arthur Weisberg.

1976 Beethoven: Quintet in Eb, New York Orion ORS 76224 1977 Op. 16 Woodwind Quintet

131 Date Title and Works Artists Label Catalogue Number 1970 Korte, Karl: Matrix New York Composers CRI SD 249 Woodwind Quintet, Recordings, Lark Quintet Inc. Baron, Roseman, Glazer, Weisberg, Albert Hamme- saxophone with Raymond Des- Roches, percussion and Elizabeth Korte, piano

1976 The New York Woodwind Samuel Baron. Concert Disc CS 223 Quintet Plays Alex Jerome Roth, David Wilder’s Quintets No. 3, Glazer, John M 1223 No. 4, No. 6 Barrows, Arthur Weisberg

1981 Alec Wilder Sketches of New York Golden Crest CRS 4208 the World’s Most Woodwind Quintet Beautiful Girls arr. for wind quintet

1981 Poulenc: Sextet for Wind Samuel Baron, flute; Nonesuch 79045 Quintet and piano; Sonata Ronald Roseman, for oboe and piano; Trio oboe; David Glazer, 1983 for oboe, bassoon and cl; Donald 79045-4 piano MacCourt, bassoon; cassette William Purvis, hom; Gilbert Kalish, piano

Recorded in 1981

1988 Fine; Partita fijr Wind New York Electra 79175 Quintet Woodwind Quintet Nonesuch

132 Date Title and Works Artists Label Catalogue Number 1989 Brahms: String Quartet in New York Musical MHC A minor. Op. 51, no. 2; Woodwind Quintet, Heritage 312408X Piano Quartet No. 1 in G Gilbert Kalish, piano Society cassette minor. Op. 25 transcriptions by Samuel MHS Baron 512408 compact disc

1991 Bresnick: Just Time; Samuel Baron, flute; New World 80413-2 Powell: Woodwind Ronald Roseman, Records Quintet; Roseman: oboe; Charles Double Quintet for Neidich, clarinet; Woodwinds and Brass; Donald MacCourt, Shapey: Movements bassoon, William Purvis, hom and members of the American Brass Quintet Raymond Mase, Chris Gekker, trumpets; David Wakefield, hom; Michael Powell, tenor trombone; Robert Biddlecome, bass trombone

1961 The Best of the New York Samuel Baron, Boston BSD 137 1996 Woodwind Quintet Vol. 1 Jerome Roth, David Skyline Material Barber: Summer Music; Glazer, John reissue on CD previously Carter: Eight Etudes and Barrows, Arthur released on a Fantasy; Sweelinck: Weisberg, with Concert Variations on a Folk Song; Ronald Roseman, Disc LP CS Riecha: Finale fi’om Ralph Froelich 216 Quintet in Eb; Pieme: CS 229 Pastorale; Barrows: CS 231 March; Nielsen: Quintet CS-254

133 Date Title and Works Artists Label Catalogue Number 1958 The Best of the New York Samuel Baron, Boston BSD 139 1996 Woodwind Quintet Jerome Roth, David Skyline Volume 2. Glazer, John reissue on CD Milhaud: La Cheminée du Barrows, Arthur roi René; Ibert: Trois Weisberg, with Selections Pièce Breves; Fine: Ronald Roseman. previously Partita; Wilder: Up Ralph Froelich and released 1958- Tempo from Quintet # 1 ; Bernard Garfield 1964 VanVactor: Scherzo; Villa-Lobos: Quintette and Two Duettes; Hindemith: FGeine KammermusOc, Op. 2

1961 An American and Paris: Samuel Baron, Boston BSD 141 1996 The Best of the New York Jerome Roth, David Skyline Material Woodwind Quintet Glazer, John reissue on CD originally Volume 3. Barrows, Arthur issued on Wilder: Quintet #3. Weisberg, Frank Concert Quintet #4, Quintet #6; Glazer, piano Disc LP Poulenc: Sextet for piano CS 223 and winds CS 221 CS 222

1996 Wallingford Riegger: Samuel Baron, Bridge Bridge Music for Piano and Ronald Roseman, Records 9068 Winds Charles Neidich, Donald MacCourt, William Purvis, Gilbert Kalish, piano

1962 Schubert, Franz: A Fine Arts Quartet; Boston BSD 143 1997 Schubert Celebration Harold Siegel, Skyline Originally Octet in F for strings and double-bass; New reissue on CD issued on winds, D. 803. York Woodwind Concert Quintet Disc LP CS 220

134 FILMOGRAPHY

Date Title and Works Artists Label Catalogue Number 1957 Music for Young People: New York National Introducing the Woodwind Quintet Educational Woodwinds. Music by and Yehudi Menuhin Television and Milhaud, von Weber, Radio Center. Mussorgsky, and Reicha Arts and An educational film Audiences. Inc.

135 NEW YORK WOODWIND QUINTET LIBRARY OF CONGRESS MUSIC DIVISION PERFORMANCES

Concert given under Works performed Recording auspices of: Type and LC Call Number February 17, 1950 New York Wind Ensemble comprised o f the 2 sound tape Gertrude Clarke New York Brass Ensemble and the New York reels Whittall Foundation Woodwind Quintet LWO 5284 Johann Pezel: Suite

Anthony Holbome: Night watch and Honie- Suckel horn Pavans. almains. and other short æirs

Henry Purcell: Funeral Music for Queen Mary

Ludwig van Beethoven: Quintet in Eb Major arr. from the sextet, Op. 71

Ingolf Dahl: Music for Brass Instruments

Paul Hindemith: Kleine Kammermusik, Op. 24. No. 2

February 19, 1954 Franz Danzi: Quintet in G minor. No. 56, No. I sound tape Elizabeth Sprague 2 reel Coolidge Foundation Wallingford Riegger: Concerto for Piano and LWO 2253 Woodwind Quintet, Op. 53 World Premiere Performance, commissioned by Serge Koussevitzky Music Foundation Library of Congress

Wolfgang Amadeus Mozart: Quintet in Eb Major for piano, oboe, clarinet, horn, and bassoon, K 452.

Darius Milhaud: La Cheminée du roi René

136 Concert given under Works performed Recording auspices of: Type and LC Call Number November 19. 1954 Jean Francaix: Quintet (1949) 1 sound tape Elizabeth Sprague reel Coolidge Foundation Gian Francesco Malipiero: Sonata a quattro, for flute, oboe, clarinet and bassoon (1954) LWO 2370 World Premiere Performance commissioned by the Elizabeth Sprague Coolidge Foundation and composed in her memory.

Alec Wilder: Quintet (1953)

Heitor Villa-Lobos: Quintette en forme de Chôros (1928, revised 1954)

David van Vactor: Scherzo (1941)

Vincent Persichetti: PastoraL Op. 21 (1943)

John Barrows: March (1941)

January 6, 1956 Egon Wellesz: Suite for Woodwind Quintet, 1 sound tape Elizabeth Sprague Op. 73 (1954) reel Coolidge Foundation Ludwig van Beethoven: Quintet in Eb for LWO 2386 Oboe. Clarinet. Horn. Bassoon, and Piano, Op. 16(1796)

Ingolf Dahl: Allegro and Arioso (1942)

Francis Poulenc: Sextour for woodwind Quintet and Piano (1932-39)

137 Concert given under Works performed Recording auspices of: Type and LC Call Number March 1,1957 Franz Danzi: Quintet in E minor. Op. 67, no. 2 1 sound tape Gertrude Clarke reel Whittall Foundation Samuel Barber: Summer Music, Op. 31 (1956) LWO 2479 Juan Orrego-Salas: Divertimento for flute, oboe, and bassoon. Op, 43 (1956)

Alvin Etler: Quintet (1955)

October 30, 1958 Paul Tafi&nel: Quintet in G minor (pub. 1878) I sound tape Elizabeth Sprague reel Coolidge Foundation William Bergsma: Concerto for Wind Quintet (1958) World Premiere Performance LWO 2709 commissioned by the Elizabeth Sprague Coolidge Foundation

Marcel Quinet: Quintette (1949)

Paul Hindemith: Kleine Kammermusik, Op. 24, No. 2 (1922)

January 27,1961 Irving Fine: Partita (1948) 1 sound tape Gertrude Clarke reel Whittall Foundation Quincy Porter: Quintet for Woodwinds (1960) World Premiere Performance work was LWO 3241 commissioned by the Sigma Alpha Iota American Music Awards program

Elliott Carter: Eight Etudes and a Fantasy (1950)

Carl Nielsen: Quintet for Woodwinds, Op. 43 (1922)

138 Concert given under Works performed Recording auspices of: Type and LC Call Number February 23, 1962 Ludwig van Beethoven: Quintet for ob, cl, hn. 1 sound tape Gertrude Clarke bsn, and piano. Op. 16 reel Whittall Foundation Easley Blackwood: Pastorale and Variations LWO 3575 Op. 11 (1961)

Gunther Schuller: Quintet (1958)

Francis Poulenc: Sextour

February I, 1963 Anton Reicha: Quintet in A minor 1 sound tape Elizabeth Sprague reel Coolidge Foundation Irving Fine: Romanza (1962) World Premiere Performance commissioned by the Elizabeth LWO 3920 Sprague Coolidge Foundation

Gioacchino Rossini: Quartet no. 6 in F

Jean Françaix: Quintette ( 1949)

January 17, 1964 Arnold Schonberg: Quintet, Op. 26 (1924) 1 sound tape Gertrude Clarke reel Whittall Foundation Ingolf Dahl: Allegro and Arioso (1942) LWO 4194 Walter Piston: Three Pieces for Flute Clarinet and Bassoon ( 1926)

Matyas Seiber: Permutazione a cinque (1958)

139 Concert given under Works performed Recording auspices of: Type and LC Call Number March 3, 1967 Franz Danzi: Quintet in Bb major. Op. 56 2 sound tape Gertrude Clarke reels Whittall Foundation William Sydeman: Quintet No. 2(1961) LWO 4997 Walter Piston: Quintet (1956) LWO 4920 Elliott Carter: Quintet (1948) edited for broadcast

January 31. 1969 Anton Reicha: Quintet in Eb Major, Op. 88, 2 sound tape Gertrude Clarke no. 2 reels Whittall Foundation Richard Rodney Bennett: Wind Quintet ( 1967- LWO 5584 68) World Premiere Performance commissioned by the Serge Koussevitsky LWO 5464 Foundation edited for broadcast Ronald Roseman, arr.: Renaissance Suite

William Bergsma: Concerto for Wind Quintet (1958)

January 8, 1971 Anton Reicha: Introduction and Allegro in D 2 sound tape Gertrude Clarke minor from Quintet Op. 88, No. 4 reels Whittall Foundation Ingolf Dahl: Allegro and Arioso (1942) LWO 6302

Franz Schubert: Introduction and variations on LWO 6216 an original theme, D. 603, transcribed by David edited for Goldstein broadcast

Gunther Schuller: Quintet (1958)

Paul Hindemith: Kleine Kammermusik, Op. 24, no. 2

140 Concert given under Works performed Recording auspices of: Type and LC Call Number November 24, 1972 Ludwig van Beethoven: Variations on “La ci 2 sound tape Gertrude Clarke darem la mano” &om Mozart’s Don reels Whittall Foundation Giovanni, transcribed by Ronald Roseman LWO 7095 Arthur Berger: Quartet in C for woodwinds (1941) LWO 7108 edited for Franz Danzi: Quintet in E minor Op. 67, no. broadcast 2.

Ezra Laderman: Trios and Fantasy for Woodwind Quintet (1972) World Premiere Performance

Paul Tafifanel: Quintet in G minor

141 BIBLIOGRAPHY

ARTICLES AND BOOKLETS:

■‘America’s Best Ambassadors.” International Musician. Jan. 1960.

Baron, Samuel. “A Case o f Malpractice —Schônberg’s Woodwind Quintet.” Clarinet. Winter 1987: 12-13.

Baron, Samuel. “The Rebirth of the Woodwind Quintet in America.” American Ensemble. 6.3 Fall 1983: 15-17.

Baron, Samuel. “Reminiscences of Golden Age: New York City (1946-1951).” The Instrumentalist. 42(1987): 19-24.

Baron, Samuel and Gunther Schuller. “The Woodwind Quintet: A Symposium. General Discussion and Specific Charges.” Woodwind Magazine. 6.6 Mar.-Apr. 1954: 4- 10.

Baron. Samuel. “Woodwinds in the Spotlight: Surprises and Pleasures.” The Juilliard Journal. Mar. 1995.

Ericson, Raymond. “A Special Package for Russia.” The New York Times. 23 Jul. 1972.

Grycky. Eileen. “A Tribute to Murray Panitz.” Flute Talk. Nov. 1989.

Hickman, C. “N. Y. Woodwind Quintet Slates Concert Today.” Independent Star-News 19 Jan. 1958: A4.

Margrave, Wendell. “New Works Presented by Woodwind Quintet.” Washington Star 28 Jan. 1961.

Toff, Nancy and Gwen Powell. “Passing Tones.” The Flutist Ouarterlv. Summer 1997: 26.

142 The United States Information Service Presents: The New York Woodwind Quintet. Taipei. 3 Oct. 1962. van Munster, Peter. ‘Trans Vester - A ‘learned musician.”’ trans. Frieda Leia Lacobowitz Concerning the Flute, ed. Rien de Reede. Amsterdam: Broekmans & van PoppeL 1984.

Wincenc, Carol. “Reflections Upon Joining the New York Woodwind Quintet.” The Juilliard Journal. Apr. 1998: 5.

“Winds and Brasses in Unique RecitaL” Woodwind Magazine. Jan. 1949: 1.

“The Woodwind Quintet: A Symposium, Reicha, Hearld o f the Quintet.” trans. Samuel Baron. Woodwind Magazine- Nov. 1954: 5.

Young Audiences 1952-1982. New York: Young Audiences.

Young Audiences 1996. New York: Young Audiences.

BOOKS:

Abeles, Harold F., Charles R. Hoflfer, and Robert H. Klotman. Foundations of Music Education. New York: Schirmer Books, 1984.

Baines, Anthony. Woodwind Instruments and Their Historv. New York: Norton. 1962.

Barber, Samuel. Summer Music. Op. 31. Milwaukee: G. Schirmer, 1957.

Baron, John H. Chamber Music: A Research and Information Guide. New York: Garland Publishing, 1987.

Baron. Samuel. Samuel Baron Collection. Boxes 1-9. Library of Congress, Washington. B.C.

Barr, Cyrilla. Elizabeth Sprague Coolidge: American Patron of Music. New York: Schirmer, 1998.

Burks, Aldine K. Follow the Pipers. Westfield: Aldine K. Burks, 1969.

Carse, Adam. The Historv of Orchestration. London: Kegan Paul, 1925.

143 Cummings, David M. ed. International Who’s Who in Music. Cambridge: Melrose Press, 1980.

Greene, Frank. Composers on Record. Metuchen: The Scarecrow Press, Inc., 1985.

DeLorenzo, Leonardo. My Complete Story of the Flute. Lubbock: Texas Tech University Press, 1992.

Demsey, David and Ronald Prather. Alec Wilder: A Bio-Bibliographv. Westport: Greenwood Press, 1993.

DorgeuQe, Claude. The French Flute School 1860-1950. Trans. Edward Blakeman. London: Tony Bingham, 1983.

Farah, Mounir and Andrea Berens Karls. World Historv: The Human Experience. New York: Glencoe, 1994.

Heyman, Barbara B. Samuel Barber: The Composer and His Music. New York: Oxford University Press, 1992.

Hitchcock, H. Wiley and Stanley Sadie, eds. The New Grove Dictionary of American Music. London: Macmillan, 1986.

Hosek, Miroslav. The Woodwind Quintet, Trans. Colleen Gruban. Grünwald: Bernard Brüchle Edition, 1979.

Laing, Millard M. Anton Reicha's quintets for flute, oboe, clarinet, horn, and bassoon. Diss. University of Michigan. 1952. Ann Arbor: UMI, 1952. 003697.

Library of Congress. Music, Theater. Dance: An Illustrated Guide Washington, DC: Library o f Congress, 1993.

The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie. London: MacMillian, 1980.

Nyfenger, Thomas. Music and the Flute. Guilford: Thomas Nyfenger, 1986.

Peters, Harry B. The Literature of the Woodwind Quintet. Metuchen: The Scarecrow Press, Inc., 1971.

Sadie, Stanley, ed. The New Grove Dictionary o f Music and Musicians. London: Macillan, 1980.

144 Secrist-Schmedes, Barbera. Wind Chamber Music. Lanham: The Scarecrow Press, Inc., 1996.

Stone, Desmond. Alec Wilder in Spite of Himself: A Life of the Composer. New York: Oxford University Press, 1996.

Tofl^ Nancy. The Flute Book. New York: Oxford University Press, 1996.

Tofif, Nancy. Georges Barrère and the Flute in America. New York: New York Flute Club, 1994.

Vester, Frans. Flute Repertoire Catalogue. London: Musica Rara, 1967.

WhitwelL David. The Longv Club: A Professional Wind Ensemble in Boston. 1900- 1917. Northridge: WINDS, 1988.

WhitwelL David. A New Historv of Wind Music. Evanston: The Instrumentalist Company, 1980.

INTERVIEWS AND LETTERS:

Ajemian, Anahid. “Supplement to David Glazer's Report of Tour to Soviet Union.

Bak. Jane. Letter to author. 17 Feb. 1999.

Froelich, Ralph. Interview with author. 17 Mar. 1998.

Froelich, Ralph- Letter to author. Jan. 1999.

Garfield, Bernard. Letter to author. 25 Oct. 1997.

Garfield. Bernard. Interview with author. 10 Mar. 1998.

Glazer, David. Interview with author. 26 Sept. 1997.

Glazer. David. Interview with author. 6 Oct. 1998.

Glazer, David. Incerview with author. 10 Feb. 1999.

Glazer. David. Interview with author. 16 Feb. 1999.

Glazer, David. “Report of the Tour to the Soviet Union.” 5 May - 4 Jun. 1972.

145 LaCoste, Steve. Letter to author. 26 Jan. 1999.

MacCourt. Donald. Interview with author. 6 Dec. 1997.

Neidich, Charles. Interview with author. 6 Mar. 1998.

New York Woodwind Quintet. “Newsletter, 1985-86.'*

Fames, Ray and Tamar. Letter to Stanley Blostein. 7 Mar. 1999.

Pryor, Rebecca. Letter to author. 26 Aug. 1998.

Parvis, William. Interview with author. 7 Mar. 199?.

Roseman. Ronald. Interview with author. 25 Sept. . 997.

Roth, Jerome. Interview with author. 4 Dec. 1997.

Schuman-Post. Brenda. Interview with author. 18 June 1998.

Weisberg, Arthur. Interview with author. 12 March 1998.

WEB SITES CONSULTED:

“Bassoon Faculty.” Temple University Esther Bover College of Music.

“Carol Wincenc.” The Juilliard School of Music.

“Clarinet Faculty.” Temnle University Esther Bover College of Music.

“Donald MacCourt.” The Juilliard School of Music. .

Gavlord Music Library Music Necroloev.

“John Barrows.” International Horn Societv.

146 “John Mack.” The Cleveland Institute of Music.

“Laos.” Infoplease.com.

“New York Woodwind Quintet.” Norfolk Chamber Music Festival.

“Oboes in the Chicago Symphony.” To the World’s Oboists. Dec. 1974.

“Oboes in the New York Philharmonic.” To the World’s Oboists. Jul. 1973.

“Ronald Roseman.” The Juilliard School,

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