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William Schuman: the Witch of Endor William Schuman (1910-1992)
WILLIAM SCHUMAN: THE WITCH OF ENDOR WILLIAM SCHUMAN (1910-1992) JUDITH, CHOREOGRAPHIC POEM [1] JUDITH, CHOREOGRAPHIC POEM (1949) 21:20 [2] NIGHT JOURNEY (1947) 20:34 NIGHT JOURNEY THE WITCH OF ENDOR (1965) THE WITCH OF ENDOR [3] Part I 6:39 [4] Part II 8:09 [5] Part III 8:00 BOSTON MODERN ORCHESTRA PROJECT [6] Part IV 8:21 Gil Rose, conductor [7] Part V 8:35 TOTAL 81:41 COMMENT William Schuman to Fanny Brandeis November 30, 1949 About three years ago I had the privilege of collaborating with Miss Graham on the work known as Night Journey which was commissioned by the Elizabeth Sprague Coolidge Foundation in the Library of Congress, and was first performed on May3 , 1947 at the Harvard Symposium on Music Criticism. Working with Martha Graham was for me a most rewarding artistic venture and is directly responsible for the current collaboration. When I received a telephone call last spring from Miss Graham informing me that the Louisville Orchestra would commission a composer of her choice for her engagement, I had no inten- tion of adding to my already heavy commitments. However, as the telephone conversation progressed and as the better part of an hour was consumed, my resistance grew weaker and suddenly I found myself discussing the possible form the work could take. Actually, my reason for wanting to do the work was not only the welcome opportunity of writing another piece for Miss Graham, but also the opportunity of employing the full OGRAPHY BY MARTHA GRAHAM. MARTHA BY OGRAPHY resources of the modern symphony orchestra for a choreographic composition. -
Harold Spivacke Collection [Finding Aid]. Library Of
Harold Spivacke Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 1995 Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu011011 LC Online Catalog record: http://lccn.loc.gov/2006572324 Processed by the Music Division of the Library of Congress Collection Summary Title: Harold Spivacke Collection Span Dates: 1923-1984 Bulk Dates: (bulk 1930-1978) Call No.: ML31.S69 Creator: Spivacke, Harold, 1904-1977 Extent: around 3,900 items ; 33 containers ; 13 linear feet Language: Collection material primarily in English with some items in German Location: Music Division, Library of Congress, Washington, D.C. Summary: Harold Spivacke was a music librarian, administrator, musicologist, and musician. He was chief of the Library of Congress Music Division for thirty-five years, from 1937 until 1972. The collection contains materials relating to his life and career, including correspondence, student notebooks, speeches, his dissertation, photographs, clippings, programs, manuscript and printed music, artwork, awards and honorary degrees, and business papers. 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 Albert, Eugen d', 1864-1932--Photographs. Angell, Richard--Correspondence. Anglès, Higini, 1888-1969--Correspondence. Bernstein, Leonard, 1918-1990--Correspondence. Coolidge, Elizabeth Sprague, 1864-1953--Correspondence. Copland, Aaron, 1900-1990--Correspondence. Dallapiccola, Luigi, 1904-1975--Correspondence. -
Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C
DOCUMENT RESUME ED 301 906 C3 506 492 AUTHOR Newsom, Iris, Ed. TITLE Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0570-1; ISBN-0887-8234 PUB DATE 87 NOTE 189p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 (Ztock No. 030-001-00120-2, $21.00). PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Cultural Activities; *Dance; *Film Industry; *Films; Music; *Television; *Theater Arts IDENTIFIERS *Library of Congress; *Screenwriters ABSTRACT Liberally illustrated with photographs and drawings, this book is comprised of articles on the history of the performing arts at the Library of Congress. The articles, listed with their authors, are (1) "Stranger in Paradise: The Writer in Hollywood" (Virginia M. Clark); (2) "Live Television Is Alive and Well at the Library of Congress" (Robert Saudek); (3) "Color and Music and Movement: The Federal Theatre Project Lives on in the Pages of Its Production Bulletins" (Ruth B. Kerns);(4) "A Gift of Love through Music: The Legacy of Elizabeth Sprague Coolidge" (Elise K. Kirk); (5) "Ballet for Martha: The Commissioning of 'Appalachian Spring" (Wayne D. Shirley); (6) "With Villa North of the Border--On Location" (Aurelio de los Reyes); and (7) "All the Presidents' Movies" (Karen Jaehne). Performances at the library during the 1986-87season, research facilities, and performing arts publications of the library are also covered. (MS) * Reproductions supplied by EDRS are the best that can be made * from the original document. 1 U $ DEPARTMENT OP EDUCATION Office of Educational Research and Improvement 411.111.... -
UNIVERSITY of CALIFORNIA RIVERSIDE the 1964 Festival Of
UNIVERSITY OF CALIFORNIA RIVERSIDE The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Alyson Marie Payne September 2012 Dissertation Committee: Dr. Leonora Saavedra, Chairperson Dr. Walter Clark Dr. Rogerio Budasz Copyright by Alyson Marie Payne 2012 The Dissertation of Alyson Marie Payne is approved: ______________________________________________________________ ______________________________________________________________ _______________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgments I would like to acknowledge the tremendous help of my dissertation committee, Dr. Leonora Saavedra, Dr. Walter Clark, and Dr. Rogerio Budasz. I am also grateful for those that took time to share their first-hand knowledge with me, such as Aurelio de la Vega, Juan Orrego Salas, Pozzi Escot, and Manuel Halffter. I could not have completed this project with the support of my friends and colleagues, especially Dr. Jacky Avila. I am thankful to my husband, Daniel McDonough, who always lent a ready ear. Lastly, I am thankful to my parents, Richard and Phyllis Payne for their unwavering belief in me. iv ABSTRACT OF THE DISSERTATION The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics by Alyson Marie Payne Doctor of Philosophy, Graduate Program in Music University of California, Riverside, September 2012 Dr. Leonora Saavedra, Chairperson In 1964, the Organization of American States (OAS) and the Institute for Hispanic Culture (ICH) sponsored a lavish music festival in Madrid that showcased the latest avant-garde compositions from the United States, Latin America, and Spain. -
LGBTQ+ Artists Represented Int the Performing Arts Special Collections
LGBTQ+ Artists Represented in the Performing Arts Special Collections in the Library of Congress Music Division Aaron Copland with Samuel Barber and Gian Carlo Menotti, 1945 (Aaron Copland Collection, Box 479 Folder 3) Compiled by Emily Baumgart Archives Processing Technician January 2021 Introduction The artistic community has always had many LGBTQ+ members, including musicians, dancers, choreographers, writers, directors, designers, and other creators. The Music Division holds a wealth of information about these LGBTQ+ artists in its performing arts special collections, which contain musical scores, correspondence, scripts, photographs and other documents of their lives and careers. This survey brings together some of the highlights from these holdings, providing an opportunity to learn more about LGBTQ+ creators and to recognize and celebrate their artistic achievements. The sexual and gender identity of many historical figures has been obscured over time; moreover, it can be difficult to determine how such individuals would identify by today’s terminology, especially when little of their personal life is known. Other figures, however, have disclosed their identity through their private correspondence or other writings. We do not wish to ascribe to any person an identity that they may have disagreed with, but at the same time we recognize that many of the queer community’s accomplishments have been hidden through oppression, prejudice, and forced closeting. By increasing awareness of LGBTQ+ identity in the Music Division’s special collections, we can make relevant primary source materials more readily accessible for students, educators, and scholars to study these creators and their contributions. This survey does not claim to be comprehensive, neither in terms of identifying every LGBTQ+ artist within the Music Division’s special collections nor in terms of identifying every collection in which those artists are represented. -
An Illustrated Guide. INSTITUTION Library of Congress, Washington, D.C
DOCUMENT RESUME ED 368 387 IR 054 963 TITLE Library of Congress Music, Theater, Dance: An Illustrated Guide. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0801-8 PUB DATE 93 NOTE 83p.; For related documents,see IR 054 962-964. Publication made possible by support from the James Madison Council. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Mail Stop: SSOP, Washington, DC 20402-9328. PUB TYPE Books (010) Guides General (050) Reports Descriptive (141) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS *Archives; Cultural Activities; *Dance; FolkCulture; Illustrations; *Library Collections; *Music; Musical Instruments; *National Libraries; *Theater Arts IDENTIFIERS *Library of Congress; Manuscript Collections; Manuscripts; Special Collections (Library) ABSTRACT The Music Division of the Library of Congress houses a collection that numbers close to eight million items includingthe classified music and book collections; musicand literary manuscripts; microforms; and copyright deposits. This guide showsthe highlights of the collection, as wellas its mission. The Library of Congress embraces the complete range of music from creatingnew works to having them performed and placing the original manuscripts in the collections in perpetuity for theuse of succeeding generations. Topics covered in this guide are: a description of the special collections in the Music Division; a background and description of the foundations that perpetuate the art and scholarship of music; descriptions of public events and publications of the Music Division; Music of Americans, the popular music collection; the theater collections; Invitation to the Dance, the dance collections; the collections of musical instruments; dle Music Division's services to the public ana collections; and a list of 100 selected special collections. -
Jeff Wright's Final Diss Draft for Committee
The Enlisted Composer: Samuel Barber’s Career, 1942-1945 Jeffrey Marsh Wright II A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2010 Approved by: Jocelyn R. Neal Jon W. Finson Mark Katz John L. Nádas Philip Vandermeer ©2010 Jeffrey Marsh Wright II ALL RIGHTS RESERVED ii ABSTRACT JEFFREY MARSH WRIGHT II: The Enlisted Composer: Samuel Barber’s Career, 1942-1945 (Under the direction of Jocelyn R. Neal) Throughout the 1920s and 1930s Samuel Barber emerged as one of America’s premier composers. In 1942, however, the trajectory of his flourishing career was thrown into question by the United States’ entrance into World War II, and the composer’s subsequent drafting into service. Being in the army nearly placed a moratorium on his compositional activity due to the time constraints of official duty. Yet Barber responded not only by maintaining his compositional momentum in the little free time that he had, but also by proposing new projects that would make it his sole, official duty to compose works that could be of potential use to the U.S. government. This dissertation examines the implications of a free artist being placed in an official role to write music at the request of the United States government. The idea of a composer writing music for a governmental patron is a notion normally reserved for composers in the Soviet Union and Nazi Germany, but was a reality on the American front as well. -
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. -
Belonging to the Ages: the Enduring Relevance of Aaron Copland's
Belonging to the Ages: The Enduring Relevance of Aaron Copland’s Lincoln Portrait KAYLYN SAWYER On Saturday, April 29, 1865, five days after Abraham Lincoln’s funeral train stopped in the city, the New York Philharmonic opened the last concert of its twenty- third season with the funeral march from Lud- wig Van Beethoven’s Third Symphony. The performance program explained this inclusion—a piece “expressly composed for the occa- sion of the death of a great hero”—as “a fitting tribute to our departed Head.” Indeed, the act of memorializing Lincoln in music began shortly after his tragic assassination plunged the nation into a period of collective shock and deep mourning. Thomas Kernan identifies over one hundred vernacular music pieces composed in the eight-month period following Lincoln’s death, but it was not until the twentieth century that serious concert works were composed to memorialize the fallen sixteenth president. Many of these compositions, which can be described as “musical memorials” or monuments “constructed not of stone, but rather in sound,” laud Lincoln’s accomplishments and attri- butes while challenging the public to attend to Lincoln’s unfinished work.1 With countless performances over the past seventy- five years and a secure place in the canon, Aaron Copland’s Lincoln Portrait is one of the most recognizable and performed of the Lincoln musical memo- rials. As such, its use reflects changes in historical memory and in the artistic appropriation of Lincoln. Through the interactive processes of performances and listening, Lincoln Portrait, a patriotic work tinged with the progressive ideology of its composer, has invited genera- tions of audiences to subjective and personal reflection on Lincoln’s 1. -
Schwartz-Kates, Deborah (University of Miami): “Ginastera in Washington: Correspondence with Copland and Spivacke at the Library of Congress”
CULTURAL COUNTERPOINTS: Examining the Musical Interactions between the U.S. and Latin America Schwartz-Kates, Deborah (University of Miami): “Ginastera in Washington: Correspondence with Copland and Spivacke at the Library of Congress” Abstract: The city of Washington held a special place in the creative life of Alberto Ginastera (1916-1983). It was there that the Argentine composer achieved some of his distinguished successes, beginning with the premiere of his Second String Quartet (1958), which was commissioned by the Elizabeth Sprague Coolidge Foundation and performed in the Library of Congress. Given these achievements, it is no surprise that Ginastera considered Washington his lucky city. Yet, the U.S. capital also proves providential for researchers, since many of the sources that document the composer’s U.S. activities reside in the Library of Congress. This paper explores the highlights of the Ginastera correspondence that is housed at the LC—a resource that yields fresh perspectives into the composer’s transnational connections with music and musicians in the United States. Ginastera’s letters to Aaron Copland offer a fascinating window into the relationship that the composer shared with a valued teacher, mentor, and friend. His two-way correspondence with Harold Spivacke, the former Chief of the Music Division at the LC, played a formative role in shaping his career. As a whole, the correspondence reveals the way that the Argentine musician upheld the Library of Congress as a model for Latin American nations. He drew deeply on the resources of the LC for a variety of purposes that exemplify his association with the iconic Washington institution. -
John Edmunds in Conversation with Peter Yates and John Cage, 1959-61
"Experimentalists and Independents are Favored": John Edmunds in Conversation with Peter Yates and John Cage, 1959-61 Amy C. Beal Notes, Volume 64, Number 4, June 2008, pp. 659-687 (Article) Published by Music Library Association For additional information about this article http://muse.jhu.edu/journals/not/summary/v064/64.4.beal.html Access Provided by University of California @ Santa Cruz at 11/22/10 8:46PM GMT “EXPERIMENTALISTS AND INDEPENDENTS ARE FAVORED”: JOHN EDMUNDS IN CONVERSATION WITH PETER YATES AND JOHN CAGE, 1959–61 By Amy C. Beal छ The composer John Edmunds (1913–1986) was curator of the New York Public Library Music Division’s Americana Collection at Fifth Avenue and Forty-Second Street for only four years.1 During his brief but energetic tenure (1957–61) he corresponded regularly with Canadian- born, Los Angeles-based critic-impresario Peter Yates (1909–1976), a self- proclaimed “western representative for the Experimentalists,”2 and with the soon-to-be most controversial and influential American composer of the second half of the twentieth century, John Cage (1912–1992). Simultaneously, Cage and Yates corresponded as well, often discussing topics initiated by Edmunds. Today, four archival collections—at the New York Public Library for the Performing Arts, Music Division (here- inafter, NYPL); University of California, San Diego, Mandeville Special Collections Library (UCSD); University of California, Berkeley, Jean Gray Hargrove Music Library (UCB); and Northwestern University Music Library, Special Collections (NUML)—preserve an intact record of this three-way conversation. The Edmunds-Yates-Cage exchange is worth ex- amining for several reasons: it sheds light on the views of a generation of musical Americans at the start of the 1960s, men between forty-six and Amy C. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 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 By Amy L.