Abel Repertoire List Updated 04.2019

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Abel Puustinen Repertoire list With Orchestra: Benjamin Britten - Violin Concerto op. 15 Max Bruch - Violin Concerto no. 1 op. 26 Ernest Chausson - Poeme op. 25 Alexander Glazunov - Violin Concerto op. 82 Joseph Haydn - Violin Concerto in C major Wolfgang Amadeus Mozart - Violin Concerto no. 5 in A major K219 Niccolo Paganini - Violin Concerto no. 1 Op. 6 Sergei Prokoﬁev - Violin Concerto no. 2 in G minor op. 63 Maurice Ravel - Tzigane op. 76 Camille Saint-Saens - Havanaise op. 83 - Introduction and Rondo Capriccioso op. 28 Dmitri Shostakovich - Violin Concerto no. 2 op. 129 Jean Sibelius - Cantique & Devotion op. 77 - Violin Concerto in D minor op. 47 - Humoresques no. 4&5 op. 89 Pyotr Tchaikovsky - Violin Concerto in D major op. 35 Georg Philipp Telemann - Violin Concerto in G major Antonio Vivaldi - The Four Seasons no. 2 "Summer" op. 8 Henryk Wieniawski - Polonaise de Concert op. 4 - Violin Concerto no. 2 in D minor op. 22 Sonatas & other pieces: John Adams - Road Movies Johann Sebastian Bach - Solo Violin Sonata no. 1 in G minor - Solo Violin Sonata no. 2 in A minor - Solo Violin Sonata no. 3 in C major - Solo Violin Partita no. 1 in B minor - Solo Violin Partita no. 3 in E major Ludwig van Beethoven - Sonata for Violin and Piano no. 1 in D major op. 12 - Sonata for Violin and Piano no. 4 in A major op. 12 - Sonata for Violin and Piano no. 7 in C minor op. 30 Johannes Brahms - Sonata for Violin and Piano no. 3 in D minor op. 108 Manuel de Falla - Suite Populaire Espagnole Karl Goldmark - Ballade op. 54 Edvard Grieg - Violin Sonata no. 3 in C minor op. 45 Arthur Honegger - Violin Sonata no. 1 H17 Jaakko Kuusisto - Loisto "Glow" op. 12 Darius Milhaud - Le Printemps op. 18 Olli Mustonen - 6 Bagatelles Carl Nielsen - Preludio e presto op. 52 Niccolo Paganini - Caprices for solo violin no. 2,9, 21&24 op. 1 Francis Poulenc - Violin Sonata FP 119 Alfred Schnittke - Violin Sonata no. 1 - Suite in the Old Style Franz Schubert - Violin Sonata no. 4 in A major ”Grand Duo” D 574 Robert Schumann - Violin Sonata no. 1in A minor op. 105 - Violin Sonata no. 2 in D major op. 121 Jean Sibelius - Romance op. 2 no.1 - 4 Pieces for Violin and Piano op. 78 - Violin Sonata in F major - Novellette op. 102 Richard Strauss - Violin Sonata op. 18 Karol Szymanowski - Mythes op. 30 Germaine Tailleferre - Berceuse Eric Tanguy - Sonata Breve Joaquin Turina - Violin Sonata no. 2 " Sonata Espagnole" op. 82 Eugene Ysaye - Six Sonatas for Solo Violin op. 27 no. 3 - Six Sonatas for Solo Violin op. 27 no. 5 - Six Sonatas for Solo Violin op. 27 no. 6.

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Violin Repertoire List
Violin Repertoire List In reverse order of difficulty (beginner books at top). Please send suggestions / additions to [email protected]. Version 1.1, updated 27 Aug 2015 List A: (Pieces in 1st position & basic notation) Fiddle Time Starters Fiddle Time Joggers Fiddle Time Runners Fiddle Time Sprinters The ABCs of Violin Musicland Violin Books Musicland Lollipop Man (Violin Duets) Abracadabra - Book 1 Suzuki Book 1 ABRSM Grade Book 1 VIolinSchool Editions: Popular Tunes in First Position ● Twinkle Twinkle Little Star ● London Bridge is Falling Down ● Frère Jacques ● When the Saints Go Marching In ● Happy Birthday to You ● What Shall We Do With the Drunken Sailor ● Ode to Joy ● Largo from The New World ● Long Long Ago ● Old MacDonald Had a Farm ● Pop! Goes the Weasel ● Row Row Row Your Boat ● Greensleeves ● The Irish Washerwoman ● Yankee Doodle Stanley Fletcher, New Tunes for Strings, Book 1 2 Step by Step Violin Play Violin Today String Builder Violin Book One (Samuel Applebaum) A Tune a Day I Can Read Music Easy Classical Violin Solos Violin for Dummies The Essential String Method (Sheila Nelson) Robert Pracht, Album of Easy Pieces, Op. 12 Doflein, Violin Method, Book 1 Waggon Wheels Superstudies (Mary Cohen) The Classical Experience Suzuki Book 2 Stanley Fletcher, New Tunes for Strings, Book 2 Doflein, Violin Method, Book 2 Alfred Moffat, Old Masters for Young Players D. Kabalevsky, Album Pieces for 1 and 2 Violins and Piano *************************************** List B: (Pieces in multiple positions and varieties of bow strokes) Level 1: Tomaso Albinoni Adagio in G minor Johann Sebastian Bach: Air on the G string Bach Gavotte in D (Suzuki Book 3) Bach Gavotte in G minor (Suzuki Book 3) Béla Bartók: 44 Duos for two violins Karl Bohm www.ViolinSchool.org | [email protected] | +44 (0) 20 3051 0080 3 Perpetual Motion Frédéric Chopin Nocturne in C sharp minor (arranged) Charles Dancla 12 Easy Fantasies, Op.86 Antonín Dvořák Humoresque King Henry VIII Pastime with Good Company (ABRSM, Grade 3) Fritz Kreisler: Berceuse Romantique, Op.
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Violin Syllabus / 2013 Edition
VVioliniolin SYLLABUS / 2013 EDITION SYLLABUS EDITION © Copyright 2013 The Frederick Harris Music Co., Limited All Rights Reserved Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary.
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Caprice Variations Violin Sonata
msv28521 GEORGE ROCHBERG Caprice Variations Violin Sonata Habeneck Stradivari 1734 2CD photograph: © Clarissa Bruce Peter Sheppard Skærved violin Aaron Shorr piano made and printed in the UK metier records division, divine art recordings group MSV28521 Booklet.indd 1-2 18/2/11 12:15:27 GEORGE ROCHBERG Violin Sonata Caprice Variations CD ONE the divine art family of labels Violin Sonata (1988) 1 I Sarabande (Molto adagio con tenerezza) 6.10 2 II Scherzo capriccioso (con spirito) 5.14 3 III Ardentemente – 7.36 4 – Adagio 6.49 Caprice Variations (1983) 5 1 Allegro energico 1:16 6 2 Presto 0:56 7 3 Allegro molto e con fuoco 1:03 8 4 Poco allegro ma quasi recitando 2:09 9 5 Poco agitato ma con molto rubato 0:42 10 6 Poco allegretto ma con rubato 1:37 11 7 Presto (after Beethoven Op. 74 Scherzo) 0:57 12 8 Languido (after Schubert Waltz Op.9, No.22) 2:14 13 9 Non troppo presto (after Brahms Op. 35, Bk.1, No.2) 0:38 A full list of almost 300 titles, with full track details, reviews, artist profiles and audio samples, is on our 14 10 Vivace (after Brahms Op. 35, Bk. 1, No.3) 0:56 website. All our recordings are available at any good record store or direct from our secure web stores. 15 11 Andante (after Brahms Op.35, Bk.1, No.11) 1:43 16 12 Andante con moto (after Brahms Op. 35, Bk.1, No.12) 1:39 17 13 Feroce, energico (after Brahms Op.
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Hans Werner Henze 1
21ST CENTURY MUSIC DECEMBER 2012 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2012 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal.
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Journal of the American Viola Society Volume 13 No. 2, 1997
JOURNAL ofthe AMERICAN ViOLA SOCIETY Section of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion ofViola Performance and Research Vol. 13 No.2 1997 OFFICERS Thomas Tatton President 7511 Park Woods Stockton, CA 95207 (209) 952-9367 Pamela Goldsmith Vice-President 11640 Amanda Drive Studio City, CA 91604 Donna Lively Clark Secretary jCFA, Butler University 4600 Sunset Indianapolis, IN 46208 Mary I Arlin Treasurer School ofMusic Ithaca College Ithaca, NY14850 Alan de Veritch Past President School ofMusic Indiana University Bloomington, IN 47405 BOARD Atar Arad Victoria Chiang Ralph Fielding john Graham Lisa Hirschmugl jerzy Kosmala jeffrey Irvine Patricia McCarty Paul Neubauer Karen Ritscher Christine Rutledge Pamela Ryan I I William Schoen _J I EDITOR, ]AVS ............~/. ._----- -"~j~~~ ! ___i David Dalton Brigham }Dung University Provo, UT 84602 PASTPRESIDENTS (1971-81) Myron Rosenblum -_._--------_.- ------------ Maurice W Riley (1981-86) David Dalton (1986-91) t=====~====---============-=======--==~ HONORARYPRESIDENT William Primrose (deceased) ~wSection of the Internationale Viola-Gesellschaft The Journal ofthe American Viola Society is a peer-reviewed publication ofthat organization and is produced at Brigham Young University, ©1985, ISSN 0898-5987. JAVSwelcomes letters and articles from its readers. Editorial Office: School ofMusic Harris Fine Arts Center Brigham Young University Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 [email protected] Editor: David Dalton Associate Editor: David Day Assistant Editor for Viola Pedagogy: Jeffrey Irvine Assistant Editorfor Interviews: Thomas Tatton Production: Bryce Knudsen Advertising: Jeanette Anderson Advertising Office: Crandall House West (CRWH) 'Brigham Young University Provo, UT 84602 (801) 378-4455 [email protected] JAVS appears three times yearly. Deadlines for copy and artwork are March 1, July 1, and November 1; submissions should be sent to the editorial office.
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El Salón México by Aaron Copland: a Study and Comparison of the Orchestral Score and Two Transcriptions for Band
El Salón México by Aaron Copland: A Study and Comparison of the Orchestral Score and Two Transcriptions for Band D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University By Erika Kirsten Svanoe, M.M. Graduate Program in Music The Ohio State University 2009 DMA Document Committee: Russel Mikkelson, Advisor Hilary Apfelstadt Richard Blatti Daryl Kinney Copyright by Erika Kirsten Svanoe 2009 Abstract Aaron Copland completed the orchestral score to El Salón México in 1936 marking a turning point in his career. The piece received more performances in the year following its completion than any of his previous orchestral works. It was well received by both critics and audiences due to his focus on melody and shift in thinking towards using the “simplest possible means” to make the music more accessible to the listener. Mark Hindsley completed a band arrangement of El Salón México in 1966 that included numerous changes to the meter and rhythmic notation found in Copland’s orchestral score. The author conducted a comparative analysis of Copland’s published orchestral score, the El Salón México manuscript materials, Bernstein’s arrangements for piano, and Hindsley’s transcription for band. This investigation sought to determine why Hindsley chose to include metric alterations that differ from the orchestral score, and how he decided what meters would be appropriate. The study of Copland’s manuscript materials of El Salón México revealed that Copland simplified the meter and rhythmic notation after the composition was complete.
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Samuel Coleridge-Taylor and His Violin Sonata In
DEPARTMENT OF MUSIC SAMUEL COLERIDGE-TAYLOR AND HIS VIOLIN SONATA IN D MINOR: A LOST ROMANTIC RECITAL RESEARCH PAPER by Katelyn McClinton Presented in partial fulfillment of the requirements for the Master of Music May 15, 2018 1 Samuel Coleridge-Taylor and His Violin Sonata in D Minor, Op. 28: A Lost Romantic Introduction There are few composers of African descent in the history of western classical music who have achieved memorable and long lasting success. The few names that are often recognized are French composer Chevalier de Saint-Georges (1745-1799), Polish violinist George Bridgetower (1778-1860), and American composer William Grant Still (1895-1978). Given the significance of his many contributions, composer Samuel Coleridge-Taylor (1875-1912) is a name that deserves to be added to this small, but significant list. Throughout his life, Coleridge-Taylor was often referred to as “African Mahler” or “Black Mahler,”1 by white musicians in New York. This nickname arises from his career as a conductor.2 He was given such a nickname because of his conducting background through his life.3 Coleridge-Taylor’s musical background and influences were certainly of the great romantics preceding him. He was a student at the Royal College of Music in England where he was a student of Sir Charles Villiers Stanford. Stanford was a devoted admirer of the works of Brahms, whose, use of musical color and texture were a model for Coleridge-Taylor. On a practical level, however, Coleridge-Taylor was more impressed with the folk music and compositional style of Antonin Dvořák.
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188042881.Pdf
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of July 2007 An Analysis for Performance of Selected Unaccompanied Works for Trumpet by Robert Henderson, Hans Werner Henze and Verne Reynolds Brendan McGlynn University of Nebraska, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons McGlynn, Brendan, "An Analysis for Performance of Selected Unaccompanied Works for Trumpet by Robert Henderson, Hans Werner Henze and Verne Reynolds" (2007). Student Research, Creative Activity, and Performance - School of Music. 10. https://digitalcommons.unl.edu/musicstudent/10 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. AN ANALYSIS FOR PERFORMANCE OF SELECTED UNACCOMPANIED WORKS FOR TRUMPET BY ROBERT HENDERSON, HANS WERNER HENZE AND VERNE REYNOLDS by Brendan K. McGlynn A DOCTORAL DOCUMENT Presented to the Faculty of the Graduate College at the University of Nebraska in Partial Fulfillment of Requirements for the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Darryl White Lincoln, Nebraska August 2007 ii iii AN ANALYSIS FOR PERFORMANCE OF SELECTED UNACCOMPANIED WORKS FOR TRUMPET BY ROBERT HENDERSON, HANS WERNER HENZE AND VERNE REYNOLDS Brendan McGlynn, D.M.A. University of Nebraska, 2007 Advisor: Darryl White Unaccompanied literature has been gaining a world-wide reputation and importance in the trumpet performance repertoire.
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Major Works with Orchestra
Major Works with Orchestra J.S. Bach: Concerto in A minor BWV 1041 J.S. Bach: Concerto in E major BWV 1042 J.S. Bach: Concerto for Two Violins in D minor BWV 1043 Samuel Barber: Violin Concerto Op. 14 Béla Bartók: Concerto for Violin no 2, Sz 112/BB 117 Ludwig Van Beethoven: Romance for Violin and Orchestra No. 1 in G major, Op. 40 Ludwig Van Beethoven: Romance for Violin and Orchestra No. 2 in F major, Op. 50 Ludwig Van Beethoven: Concerto for Violin in D major, Op. 61 Johannes Brahms: Concerto for Violin in D major, Op. 77 Johannes Brahms: Concerto for Violin and Cello in A minor, Op. 102 MaX Bruch: Concerto for Violin no 1 in G minor, Op. 26 MaX Bruch: Scottish FantasY in E flat major, Op. 46 Ernest Chausson: Poème for Violin and Orchestra in E flat major, Op. 25 Antonin Dvorak: Concerto for Violin in A minor, Op. 53 Karl Amadeus Hartmann Concerto funèbre Joseph Haydn: Concerto for Violin no 1 in C major, H. VIIa No. 1 Édouard Lalo: Symphonie Espagnole for Violin and Orchestra, Op. 21 FeliX Mendelssohn: Concerto for Violin in E minor, Op. 64 Wolfgang Amadeus Mozart: Concerto for Violin no 1 in B flat major Wolfgang Amadeus Mozart: Concerto for Violin no 2 in D major Wolfgang Amadeus Mozart: Concerto for Violin no 3 in G major, K 216 Wolfgang Amadeus Mozart: Concerto for Violin no 4 in D major, K 218 Wolfgang Amadeus Mozart: Concerto for Violin no 5 in A major, K 219 "Turkish" Wolfgang Amadeus Mozart: Sinfonia Concertante in E flat major, K.
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Repertoire List James Poe, Violin Title Composer Year(S) Studied
Repertoire List James Poe, Violin Title Composer Year(s) Studied Concerti Violin Concerto in D minor, Jean Sibelius (1865-1957) 2016-17 Op. 47 Violin Concerto No. 1 in G Max Bruch (1838-1920) 2017 minor, Op. 26 Violin Concerto No. 1 in D Sergei Prokofiev (1891-1953) 2016 major, Op. 19 Violin Concerto No. 3 in B Camille Saint-Saëns 2015-2016 minor, Op. 61 (1835-1921) Violin Concerto in E minor, Felix Mendelssohn 2014-2015 Op. 64 (1809-1847) Violin Concerto No. 4 in D Wolfgang Amadeus Mozart 2014-2015 major, K. 218A (1756-1791) Concerto for 2 Violins in D Johann Sebastian Bach 2013-2014 minor, BWV 1043 (1685-1750) Violin Concerto No. 2 in D Wolfgang Amadeus Mozart 2013-2014 major, K. 211 (1756-1791) Violin Concerto No. 1 in C Joseph Haydn (1732-1809) 2013 Major Violin Concerto No. 1 in D Niccolò Paganini 2012-2013 major, Op. 6 (1782-1840) Violin Concerto No. 3 in G Wolfgang Amadeus Mozart 2012 major, K. 216 (1756-1791) Sonatas Violin Sonata No. 8 in G Ludwig van Beethoven 2016-2017 major, Op. 30 No. 3 (1770-1827) Sonata for Two Violins in E Jean-Marie Leclair 2016 Minor, Op. 3 No. 5 Violin Sonata in A major, D. Franz Schubert (1797-1828) 2014-2015 574 “Grand Duo” Violin Sonata in G minor, Bg. Giuseppe Tartini (1692-1770) 2012 5, “Devil’s Trill” Unaccompanied Works Violin Sonata No. 3 in C Johann Sebastian Bach 2016-2017 major, BWV 1005 (1685-1750) Violin Sonata No. 3 in D Eugène Ysaÿe (1858-1931) 2015-2016 minor “Ballade” Fantasia No.
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TWO MOZART VIOLIN SONATAS TRANSCRIBED for the DOUBLE BASS by THOMAS PATRICK HILDRETH (Under the Direction of Milton Masciadri) A
TWO MOZART VIOLIN SONATAS TRANSCRIBED FOR THE DOUBLE BASS by THOMAS PATRICK HILDRETH (Under the Direction of Milton Masciadri) ABSTRACT The purpose of this project is to add two Mozart violin sonatas, K. 301 and K. 305, to the available solo repertoire for the double bass. Performance editions of the works with piano accompaniments in keys for the double bass in both orchestra and solo tunings will be a pedagogical resource as well as an additional source of material for well-rounded recital programs. The document begins with a justification for the project, including an overview of the available solo repertoire for the double bass. The historical background of Mozart's early works for keyboard and violin, including K. 301 and K. 305, provides an understanding of why these two pieces were chosen for the project. Detailed explanations of all changes made from the original pieces during the transcription process allow for informed decisions with regard to performance and pedagogical options. INDEX WORDS: Double bass, Mozart, K. 301, K. 305, Orchestra tuning, Performance edition, Solo repertoire, Solo tuning, Transcription, Viennese Classical Style, Violin sonata TWO MOZART VIOLIN SONATAS TRANSCRIBED FOR THE DOUBLE BASS by THOMAS PATRICK HILDRETH BA, The University of North Carolina at Charlotte, 1987 BA, Winthrop College, 1989 MAT, Winthrop University, 1991 MM, The University of South Carolina, 1997 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2012 © 2012 Thomas Patrick Hildreth All Rights Reserved TWO MOZART VIOLINS SONATAS TRANSCRIBED FOR THE DOUBLE BASS by THOMAS PATRICK HILDRETH Major Professor: Milton Masciadri Committee: Levon Ambartsumian Stephen Valdez Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2012 TABLE OF CONTENTS Page LIST OF FIGURES ......................................................................................................................
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Aaron Copland Collection [Finding Aid]. Library of Congress. [PDF
Aaron Copland Collection Processed by the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2005 Contact information: http://hdl.loc.gov/loc.music/ perform.contact Finding Aid encoded by Library of Congress Music Division, 2005 Finding aid URL: http://hdl.loc.gov/loc.music/ eadmus.mu002006 Latest revision: 2011 January Collection Summary Title: Aaron Copland Collection Span Dates: 1841-1991 Bulk Dates: (bulk 1911-1990) Call No.: ML31.C7 Creator: Copland, Aaron, 1900- Extent: around 400,000 items; 564 boxes; 306 linear feet Language: Collection material in English Repository: Music Division, Library of Congress, Washington, D.C. Abstract: The Aaron Copland Collection consists of published and unpublished music by Copland and other composers, correspondence, writings, biographical material, datebooks, journals, professional papers including legal and financial material, photographs, awards, art work, and books. Of particular interest is the correspondence with Nadia Boulanger, which extent over 50 years, and with his long-time friend, Harold Clurman. Other significant correspondents are Leonard Bernstein, Paul Bowles, Benjamin Britten, Carlos Chávez, David Diamond, Roy Harris, Charles Ives, Claire Reis, Arnold Schoenberg, Roger Sessions, and Virgil Thomsom. The photographic collection of Copland's friend and confidant Victor Kraft, a professional photographer, forms part of the collection. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Bernstein, Leonard, 1918-1990--Correspondence. Boulanger, Nadia--Correspondence. Bowles, Paul, 1910-1999--Correspondence.
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