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Jon Phetteplace Papers http://oac.cdlib.org/findaid/ark:/13030/kt2r29r4xt No online items Jon Phetteplace Papers Finding aid prepared by Special Collections & Archives Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 858-534-2533 [email protected] Copyright 2008 Jon Phetteplace Papers MSS 0135 1 Descriptive Summary Title: Jon Phetteplace Papers Identifier/Call Number: MSS 0135 Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 Languages: English Physical Description: 15.0 Linear feet (6 archives boxes, 6 records cartons, 2 card file boxes and 52 oversize folders) Date (inclusive): 1885 - 1991 (bulk 1965 - 1991) Abstract: Papers of Jon Phetteplace, composer and performer of contemporary music. The papers include drafts, transparencies, and Ozalid prints of his own scores, as well as materials for the performance of works by others; correspondence with composers and friends in English and Italian; programs from Phetteplace's activity with orchestras and small ensembles; miscellaneous appointment books, calendars, and journals; photographs; subject files; notebooks; and audio recordings of his work and the work of others. One of the strengths of the collection is the extensive documentation of his time in Italy, both in terms of his own work and that of others. Creator: Phetteplace, Jon, 1940- Scope and Content of Collection The Jon Phetteplace Papers contain the scores of Phetteplace's musical compositions, in manuscript and printed versions, in addition to notes and sketches which document his major activities from 1965 to 1991. There are also materials for the performance of works by others, including printed scores and annotations. Sometimes, the performances involved composing a score for the performance itself, and these are also included. There is a slight amount of correspondence, the content of which occasionally, as in the case of John Cage's Rozart Mix, directly relate to questions of performance. There are also photographs that document various activities, including photo-projections, and a large number of audiotapes, which document performances of both Phetteplace's work and that of his contemporaries. From 1968 to 1972, Phetteplace was very active as a composer and performer of new music, which is well-documented in the collection. The papers also include later materials, such as journals and notebooks. Arranged in eight series: 1) CORRESPONDENCE, 2) MUSICAL WORKS BY PHETTEPLACE, 3) MUSICAL WORKS BY OTHERS, 4) EPHEMERA, 5) PHOTOGRAPHS, 6) WRITINGS, 7) MISCELLANEOUS, and 8) AUDIO RECORDINGS. Biography Jon Dale Phetteplace was born February 4, 1940, in Fullerton, California. He studied cello with Frieda Belinfante before graduating from Fullerton High School in 1958, and after a year in Vienna, Austria (1959-1960), he moved to Siena, Italy, where he took masterclasses at the Accademia Chigiana. He then studied with Mario Bianchi and Pietro Grossi at the Conservatorio Luigi Cherubini in Florence, where, with Grossi, he began to study electronic music and composition. After returning briefly to the United States, Phetteplace moved back to Italy, where in 1965 he again studied cello and electronic music in Florence and worked in the Studio Fiorentino di Fonologica Musicale (S2FM). He also worked with Sylvano Bussotti, creating photographic projections for Bussotti's opera Passion selon Sade. By 1966, he was active as a performer in Italy, and moved to Rome in 1967, where, until 1968, he was associated with Musica Elettronica Viva (MEV), a group known for performing live electronic music. MEV is also known for not having any fixed set of members, although, according to Phetteplace, the original ensemble was constituted by Allan Bryant, Alvin Curran, Carol Plantamura, Frederic Rzewski, Ivan Vandor, and himself. Phetteplace participated in many of the concerts that MEV gave throughout Europe, and these concerts sometimes featured his music. He also participated in The Contraband, an offshoot of MEV, which also featured a rotating set of members, including Steve Lacy and Richard Teitelbaum, both of whom also collaborated with MEV. Phetteplace left Italy in 1969, returning to Southern California, where he continued to be active as a composer, although there is a shift in emphasis away from composition after 1972. In the early 1970s, he was active as a cellist in a number of Southern California orchestras and was associated with UC San Diego as a student and employee, working with the tape archives in the Music Library. From 1972 to 1985, he lived in Harry Partch's former home in Encinitas. He was also active as a photographer, having a one-person show at the Unicorn Gallery in La Jolla in 1973, and producing five books of his own "photo-prints" from 1976-1980. Phetteplace moved from California to Honolulu, Hawaii, in 1985, and in 1988, he moved to Tucson, Arizona. In Tucson, he returned to photography, printing many of the images that he had taken in Europe in the 1960s. Preferred Citation Jon Phetteplace Papers, MSS 0135. Special Collections & Archives, UC San Diego. Jon Phetteplace Papers MSS 0135 2 Acquisition Information Acquired 1997, 2009. Restrictions Audio recordings in Series 8 are restricted; researchers must request listening copies be produced. Fragile documents have been restricted for preservation reasons; photocopies can be found in place of these originals. Publication Rights Publication rights are held by the creator of the collection. OFF-SITE STORAGE COLLECTION STORED OFF-SITE: ALLOW ONE WEEK FOR RETRIEVAL OF MATERIALS. Subjects and Indexing Terms Phetteplace, Jon, 1940- -- Archives Composers -- United States -- Biography Music -- United States -- 20th century CORRESPONDENCE Scope and Content of Series Series 1) CORRESPONDENCE: Phetteplace's correspondence from 1965 to 1991, arranged alphabetically by correspondent. The amount of correspondence is not extensive, sometimes consisting of only single letters or postcards. This is the case for Larry Austin, Allan Bryant, Peter Garland, Otto Luening, Pauline Oliveros, and Ned Rorem. There are multiple letters, however, from several correspondents, most particularly, Robert Ashley, Sylvano Bussotti, Alvin Curran, C.F. Peters, John Cage, Giuseppe Chiari, and Pietro Grossi. The correspondence with Bussotti, Chiari, and Grossi is in Italian. The correspondence with C.F. Peters and John Cage documents a dispute over tapes of Cage's Imaginary Landscape No.5 and Where Are We Going? And What Are We Doing? that Phetteplace prepared for performance in 1967. Box 1, Folder 1 A-Z Miscellaneous Box 1, Folder 2 Andrews, Bruce 1973 Box 1, Folder 3 Ashley, Robert 1972 Box 1, Folder 4 Austin, Larry 1968 Box 1, Folder 5 Bryant, Allan 1970 Box 1, Folder 6 Bussotti, Sylvano 1970 and 1990-1991 Box 1, Folder 7 C.F. Peters Corporation 1965 - 1967 Box 1, Folder 8 Cage, John 1965 - 1972 Box 1, Folder 9 Chiari, Giuseppe 1967-1970 and 1991 Box 1, Folder 10 Curran, Alvin 1969 - 1991 Box 1, Folder 11 Garland, Peter 1972 Box 1, Folder 12 Grossi, Pietro 1969 - 1977 Box 1, Folder 13 Johnson, Maxine-Karen 1986 Box 1, Folder 14 Kosugi, Takehisa 1978 Box 1, Folder 15 Lacy, Steve 1978 and 1990 Box 1, Folder 16 Luening, Otto 1972 Box 1, Folder 17 Lund, Ross 1970 - 1971 Box 1, Folder 18 Oliveros, Pauline 1982 Box 1, Folder 19 Partch, Harry 1972 - 1974 Box 1, Folder 20 Pfeiffer, John F. 1973 - 1991 Box 1, Folder 21 Phetteplace, Dale [Jon Phetteplace's father] 1983 - 1989 Box 1, Folder 22 Rorem, Ned 1983 Box 1, Folder 23 Schloss, Edith undated Box 1, Folder 24 Subotnick, Morton 1970 Box 1, Folder 25 Teitelbaum, Richard 1970 - 1971 Box 1, Folder 26 Wakoski, Diane 1975 and 1989 Jon Phetteplace Papers MSS 0135 3 MUSICAL WORKS BY PHETTEPLACE Musical Compositions MUSICAL WORKS BY PHETTEPLACE Scope and Content of Series Series 2) MUSICAL WORKS BY PHETTEPLACE. Arranged in two subseries: A) Musical Compositions, and B) Working Materials. A) Musical Compositions: Musical scores, sketches and notes, which take the form of both drafts of works in progress and instructions on performance. B) Working Materials: Drafts of works that remain unfinished, notebooks in which notes for works remain bound with other material, and texts, such as computer routines, which are not clearly defined as works. The notebooks contain details on the planning and execution of performances during the late sixties and early seventies. These notebooks double as a chronicle of performances with MEV and with others. Lastly, there is a significant amount of material for computer music, often consisting of transcriptions of J.S. Bach. Musical Compositions Oversize FB-296-01 Accordo (No. 5) - Includes transparency, Ozalid print, and notes 1968 Oversize FB-296-02 Displacements - Includes transparencies, Ozalid prints, photocopy of score, and notes 1967 Oversize FB-296-03 ESA/me, for Mauricio Kagel - Includes letter from Kagel, first draft of score, and photocopy and carbon of the letter to Kagel which includes the score 1967 Box 1, Folder 27 Four-Tape Version of J.S. Bach's Die Kunst Der Fuge - Includes holograph score and photocopies 1984 Oversize FB-296-04 Free Lecture - Notes and Sketches. Includes texts by Aldo Braibanti 1967 - 1970 Oversize FB-296-05 Free Lecture - Scores. Versions I and II. Includes transparencies, Ozalid prints, and photocopies 1967 - 1970 Oversize FB-296-06 Gira-Gira. Includes transparency and Ozalid prints 1967 Oversize FB-296-07 Last Blues - Holograph score or sketch undated Oversize FB-296-08 Mimneogram - Transparency
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