Martin Bookspan interviews composer, pianist, folklorist and music editor Herbert Haufrecht. Haufrecht discusses his career as a composer. He talks about his interest in folk music that started when he was hired as a field representative in West Virginia for the Resettlement Administration of the Federal Department of Agriculture. There he collected folk songs and stories, and organized square dances. He discusses the collection of folk songs Folk songs in settings by master composers that he compiled in 1970. He also speaks about his interest in jazz. The composer discusses each of the following works, excerpts of which are then played during the interview: Symphony for brass and timpani (1967), Caprice (for clarinet and piano), Square set (for two pianos), Air on a ground bass (for oboe and guitar), A woodland serenade (for woodwind quintet).
Content types:
Sounds
Formats:
CD
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Martin Bookspan interviews composer Iain Hamilton. Hamilton talks about his life and career on both sides of the Atlantic, in London and later in New York; about his studies and his seven years experience as an apprentice engineer; about study of music in his spare time; and about the decision to give up engineering and to devote himself to a musical career. The composer discusses each of the following works, excerpts of which are then played during the interview: Amphion (concerto no. 2 for violin and orchestra, first movement), Alastor (for orchestra, third section), Circus (for 2 trumpets and orchestra), Epitaph for this world and time (for three choruses and three organs, text selected from Revelation (King James version)) (1970), Voyage (for horn and chamber orchestra), Paraphrase of the music for organs in Epitaph for this world and time.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Martin Bookspan interviews musician and composer Ilhan Mimaroğlu. Mimaroğlu talks about his studies at Columbia University thanks to a Rockefeller Scholarship, and in the Columbia-Princeton Electronic Center with Vladimir Ussachevsky and Edgard Varèse. He speaks about his life and career as a music critic and clarinetist in Turkey, and later as a composer in Turkey and the United States, and his work with Freddie Hubbard. Being one of the early pioneers of electronic music, he explains the way he produces "tape music" at a sound recording studio, and how he mixes this music together with jazz and other types of music, with vocals, and the spoken word. He describes this electronic music as political music. The composer discusses each of the following works, excerpts of which are then played during the interview: three excerpts from Sing me a song of Songmy (The crowd, What a good time for a Kent State, and The black soldier), Tract, La Rouche, and Wings of the delirious demon.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Adam Lüders speaks with Kyra Lynn Kaptzan about his early dance training at the Royal Danish Ballet School; Stanley Williams and other teachers; his apprenticeship at the Royal Danish Ballet, including performing in works such as Flemming Flindt's Swan lake and John Cranko's The lady and the fool; performing in George Balanchine's Don Quixote; leaving the Royal Danish Ballet to join the London Festival Ballet; the repertoire of the London Festival Ballet; coming to New York City at the suggestion of Peter Martins and Peter Schaufuss; joining New York City Ballet in 1975; his roles at City Ballet, including in Balanchine's Brahms-Schoenberg quartet, Agon, and Kammermusik no. 2; working with Jerome Robbins, including in Robbins' work Goldberg variations and Dances at a gathering; his favorite ballets, including Balanchine's Four temperaments, Agon, and Theme and variations; his coming performances with the Royal Danish Ballet, in New York City; leisure activities.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Alicia Alonso speaks with Kyra Lynn Kaptzan about her early dance training in Spain and Cuba; dance companies she saw in Cuba; the circumstances of her leaving Cuba for the U.S.; her dance training and early career in New York City, including her joining Ballet Theatre; her problems with her eye sight; reasons she concentrates on technique; founding Ballet Nacional de Cuba; touring with Ballet Alicia Alonso; dances choreographed on her; her approach to Giselle; her curtain call bows; leaving the U.S. to live in Cuba and focus on the Ballet Nacional de Cuba; the recruiting of dancers; her staging of ballets for other companies; her own choreographing; the company's choreographers, including Alberto Alonso; family members who work in her company; cultural exchanges with the U.S.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Arthur Mitchell speaks with Kyra Lynn Kaptzan about his early experience in social dance and his training at the High School of Performing Arts in New York City; his scholarship to Bennington College; his scholarship to School of American Ballet; his training in all styles of dance; starting ballet training at age 18; performing on Broadway, in nightclubs and on television; performing George Balanchine's Western symphony with Tanaquil Le Clercq; performing in Europe with John Butler's American Dance Theatre, with Glen Tetley; joining New York City Ballet in 1955 as a corps member; performing for 15 years with the company; working with Balanchine; founding the Dance Theatre of Harlem School after the assassination of Martin Luther King; the importance of educating children; the role of a Ford Foundation grant and Mitchell's increasing business skills in the development of Dance Theatre of Harlem; the various educational departments at the school; his belief in the importance of an academic education; Karel Shook's influence as a teacher on black dancers and on the school; Mitchell's approach to audience building; the importance of a varied dance repertoire; his thoughts on choreographing; Alexandra Danilova's influence as a role model for female students; male dancers at Dance Theatre of Harlem.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Side A (ca. 50 min.). Charles Ward speaks with Kyra Lynn Kaptzan about his childhood in Los Angeles; his acting as a teenager in musical comedies such as Camelot and West Side story; beginning ballet training at a local Los Angeles school at age 16; training at Gene Marinaccio's school; attending his first ballet performance, of the Stuttgart Ballet, at age 17; joining and dancing with Houston Ballet; Houston Ballet dancers Judith Aaen and John Sellers [Anthony Sellers]; training with a scholarship at American Ballet Theatre School; joining American Ballet Theatre, including an anecdote about Lucia Chase; dancing soloist roles for American Ballet Theatre, including in [Harald Lander's] Etudes; dancing with Carla Fracci in Glen Tetley's Nocturne at the Spoleto Festival [Spoleto Festival U.S.A.] in Charleston, S. C.; being cast as a principal in Tetley's Gemini; reasons a tall male dancer has difficulty in obtaining soloist roles; his feelings about the presence at American Ballet Theatre of the foreign dancers, Natalia Makarova, Fracci, Marcia Haydée and Misha [Mikhail] Baryshnikov; reasons he likes to partner Gelsey Kirkland; partnering Cynthia Gregory; the flatness of almost all male roles in classical story ballets; his reasons for leaving American Ballet Theatre; auditioning for Bob Fosse's musical comedy Dancin'; Bob Fosse's extensive theatrical knowledge; working with him, including Fosse's use of Ward's ballet training; critical and popular response to Dancin', including Ward's and Kaptzan's extensive discussion of their differing opinions of the work [ends abruptly]. Side B (ca. 17 min.). Charles Ward continues speaking about performing in Dancin' ; compares manner of preparing for a performance in Dancin' with preparation for performing in a ballet; his relationship with Ann Reinking; his career aspirations after he has finished touring with Dancin'.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Side A. [Music and announcements.] Christian Holder speaks with Kyra Lynn Kaptzan about his family's performing arts background; his early training in London in dance and theater; seeing Jerome Robbins' musical comedy West Side Story and Ballets: U.S.A. as an influence on his decision to dance; moving to New York City in l964; his scholarship to the Martha Graham School [Martha Graham School of Contemporary Dance]; attending the New York City High School of the Performing Arts; joining the Joffrey Ballet in 1966; his theatrical experience as a child; his favorite role, Death, in Kurt Jooss's The green table; other roles he enjoys, including in [José Limón's] Moor's pavane, [Robert Joffrey's] Astarte, and the narrator in [Frederick Ashton's] Wedding bouquet; roles he and Gary Chryst perform; his preference for a diverse repertory [short gap]; working with Leonide Massine; dancing in Massine's work Parade; dancing in the Joffrey Ballet's program titled Homage to Diaghilev [Parade, Petruschka, Spectre de la rose, and Afternoon of a faun], including the difficulty of performing the same roles every night; working with Rudolf Nureyev; the Joffrey repertoire and how works are selected for performance; the attempted censorship of certain works when the Joffrey toured in the former Soviet Union; touring in the U.S., including audience reactions; Holder's choreographing, including his work Five dances; how working with Jerome Robbins and other choreographers has helped him as a choreographer; his experience with costume design. [Music and announcements.] Side B is blank.
Content types:
Sounds
Formats:
Audiocassette
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Side A. [Music and announcements.] Christian Holder speaks with Kyra Lynn Kaptzan about his family's performing arts background; his early training in London in dance and theater; seeing Jerome Robbins' musical comedy West Side Story and Ballets: U.S.A. as an influence on his decision to dance; moving to New York City in l964; his scholarship to the Martha Graham School [Martha Graham School of Contemporary Dance]; attending the New York City High School of the Performing Arts; joining the Joffrey Ballet in 1966; his theatrical experience as a child; his favorite role, Death, in Kurt Jooss's The green table; other roles he enjoys, including in [José Limón's] Moor's pavane, [Robert Joffrey's] Astarte, and the narrator in [Frederick Ashton's] Wedding bouquet; roles he and Gary Chryst perform; his preference for a diverse repertory [short gap]; working with Leonide Massine; dancing in Massine's work Parade; dancing in the Joffrey Ballet's program titled Homage to Diaghilev [Parade, Petruschka, Spectre de la rose, and Afternoon of a faun], including the difficulty of performing the same roles every night; working with Rudolf Nureyev; the Joffrey repertoire and how works are selected for performance; the attempted censorship of certain works when the Joffrey toured in the former Soviet Union; touring in the U.S., including audience reactions; Holder's choreographing, including his work Five dances; how working with Jerome Robbins and other choreographers has helped him as a choreographer; his experience with costume design. [Music and announcements.] Side B is blank.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Cynthia Harvey speaks with Kyra Lynn Kaptzan about the employee lock-out at American Ballet Theatre, including cancellation of the company's performances at the Kennedy Center [John F. Kennedy Center for the Performing Arts]; dancing in Mikhail Baryshnikov's production of Don Quixote; dancing her first major role in Eliot Feld's At midnight; taking on roles at the last minute; dancing Glen Tetley's Contredances with Patrick Bissell; the function of the company's choreologist in teaching roles; working with different partners, including Anthony Dowell; working with Tetley on Contredances and Rite of spring; working with Antony Tudor on The leaves are fading; working with Baryshnikov on Don Quixote; his taking over the direction of American Ballet Theatre; Cynthia Gregory's and Gelsey Kirkland's resignations, including their effect on the company; working with Natalia Makarova on La bayadère; her favorite ballets, including Swan lake; attending performances of New York City Ballet and other companies; her dance training, including two summers at the School of American Ballet; attending the National Ballet of Canada School and joining the National Ballet of Canada briefly; moving to New York City; joining American Ballet Theatre in 1974; leisure activities; future goals; absence of overt competitiveness among the dancers at American Ballet Theatre [ends abruptly].
Content types:
Sounds
Formats:
Audiocassette
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Daniel Duell speaks with Kyra Lynn Kaptzan about his childhood dance training at the Schwarz School of Dance, in Dayton, Ohio, including his teacher David McClain; being chosen by Violette Verdy to study at the School of American Ballet; joining New York City Ballet as an apprentice; touring with City Ballet, including in the former Soviet Union; favorite roles, including the pas de trois in George Balanchine's work Agon; learning roles previously danced by Edward Villella; more on touring; male dancers who he finds inspiring, including Villella, Jacques D'Amboise, Peter Martins, and Misha [Mikhail] Baryshnikov; partnering his wife, Kyra Nichols; partnering Heather Watts; working with Jerome Robbins on a new ballet [a section of a ballet with the working title Arts of the gentleman] and other Robbins works, including Dybbuk; increased prominence of male dancers in ballet; Baryshnikov and his position in City Ballet; leisure activities; a typical work day.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Denise Jackson speaks with Kyra Lynn Kaptzan about joining the Joffrey Ballet; her early training at the Joffrey Ballet School and her apprenticeship with the company; her parents' occupations as an influence on her choice of career; choosing to join the Joffrey Ballet because of its varied repertoire and choreographers; her varied repertoire, her preference for classical choreography and the challenge of performing modern works; working on Margo Sappington's ballet Weewis; her favorite roles including George Balanchine's Tchaikovsky pas de deux and Frederick Ashton's The dream; looking forward to Robert Joffrey's full-length Cinderella [not produced?]; the Joffrey's season at the Mark Hellinger Theater; working with Rudolf Nureyev; her feelings about performing the same program every night at the Hellinger; performing Leonide Massine's Three-cornered hat; working with Robert Joffrey and Gerald Arpino and their differing styles of choreographing; touring abroad and in the U.S.[short gap]; future plans.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Dennis Wayne speaks with Kyra Lynn Kaptzan about the formation of his company, Dancers; selecting dancers and acquiring ballets for the company; assigning roles to company members; building a new audience for ballet; touring; foundation and government support for dance companies; developing his company school, Dancers; Lawrence Rhodes' teaching at the school; teaching children, especially disadvantaged and blind children; his childhood; his dance training and early dance appearances; dancing with American Ballet Theatre, the Joffrey Ballet, and the Harkness Ballet; dancing ballets created by [Gerald] Arpino, [Jerome] Robbins and [Antony] Tudor; his feelings about having his own company; Joanne Woodward's support for his company; favorite roles, including the second sailor in Fancy free; working with Robbins; future plans for Dancers, including an upcoming benefit at [the New York City nightclub] Studio 54.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Edward Villella speaks with Kyra Lynn Kaptzan about his early dance training in Bayside, Queens and at the School of American Ballet; the interruption in this training to attend the New York State Maritime College [State University of New York Maritime College]; joining New York City Ballet in 1957 and his apprehension about learning the company's repertoire; an anecdote about Villella having been the inspiration for Jerome Robbins' Afternoon of a faun; George Balanchine's restaging of his ballet The prodigal son for Villella; reasons this role was a milestone for Villella; his appearance in the musical comedy Brigadoon; performing as a guest artist in classical ballets such as Giselle, La sylphide and Romeo and Juliet; the challenges of Balanchine's ballet Tarantella; his partners including Patricia McBride, Melissa Hayden, and Violette Verdy; the principles that guide his partnering; Balanchine's ballet Apollo and the importance of restraint; choreographing for the camera; his son's interest in dance; his injuries and retiring from performing; his work with the National Council on the Arts and other arts organizations in support of increased funding for dance; his plans for a touring ensemble; working on his autobiography. Side B is blank.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Enrique Martínez speaks with Kyra Lynn Kaptzan about his early training in Havana first as an actor and then as a ballet dancer; performing in Cuba with Sociedad Pro-Arte Musical; being chosen by Lucia Chase to join American Ballet Theatre when the company toured in Cuba; his roles with American Ballet Theatre, including in Jerome Robbins' Fancy free and John Taras' Designs with strings; working with choreographers at American Ballet Theatre and being inspired to choreograph; joining Alicia Alonso's company [Ballet Alicia Alonso]; touring in South America in 1950; choreographing Fiesta for Alicia Alonso, which was performed by Alonso and Igor Youskevitch; becoming regisseur, ballet master and assistant director with American Ballet Theatre; returning to Cuba after the Cuban revolution [in 1959] and dancing with Ballet Nacional de Cuba; his responsibilities as assistant ballet master and regisseur; the upcoming directorship of Mikhail Baryshnikov at American Ballet Theatre; his favorite roles, including in Robbins' Afternoon of a faun, Prince Igor, and Robbins' Fancy free; dancing character roles; restaging Coppélia with the inclusion of his own choreography; restaging classic ballets such as Giselle for companies in the U.S.; filming dance; touring in the U.S. and performing at the Metropolitan Opera House and other theaters; performing in the [1977] film The turning point; American Ballet Theatre's upcoming season; touring abroad.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Gary Chryst speaks with Kyra Lynn Kaptzan about choreographers with whom he has worked, including Leonide Massine and John Butler; his preference for roles that involve acting and how he prepares a role; the influence of his family as a source of his love of music; studying dance at the [New York City] High School of Performing Arts; performing with Norman Walker; performing with the Joffrey Ballet and his respect for director Robert Joffrey; recent experiences as a guest artist and teacher; leisure activities such as his love of food and cooking, and the pleasure of friendships.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Jolinda Menendez speaks with Kyra Lynn Kaptzan about the recent management lock-out at American Ballet Theatre; the effect of the resignations of Cynthia Gregory and Gelsey Kirkland on female soloists in the company; her looking forward to dancing Nikiya in Natalia Makarova's full-length production of La bayadère; her height as neither detriment nor help in her career; her childhood and early training, including in Santiago, Chile, and in Trinidad; moving to New York City and studying at the National Academy of Ballet under the direction of Thalia Mara; joining American Ballet Theatre, first as an apprentice then in the corps; her first soloist roles, including the pas de deux in David Lichine's Graduation ball and a section of Alvin Ailey's The river; performing in Europe; the star system at American Ballet Theatre; Alexander Godunov's leaving and then rejoining the company; the upcoming change in directorship of the company from Lucia Chase to Mikhail Baryshnikov; plans for touring with American Ballet Theatre in the U.S. and the upcoming season at the Metropolitan Opera in New York City; her reasons for joining American Ballet Theatre; her reasons for not joining New York City Ballet; performing for the television program Live from Lincoln Center; filming other dance works, including for the television program Dance in America; leisure activities; future plans.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Karen Kain speaks with Kyra Lynn Kaptzan about her early training at the National Ballet of Canada School and studying with Betty Oliphant; joining the National Ballet of Canada; dancing with Roland Petit's company; performing in the 1973 International Ballet Competition in Moscow; dancing on a raked stage; her favorite roles; working with Rudolf Nureyev; her guest appearance with the Bolshoi Ballet, touring with the National Ballet of Canada; leisure activities; filming dance for television, including James Kudelka's work A party, for the Canadian Broadcasting Corporation; a typical work day; future plans.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Lucia Montagnon [known as Lucia Isenring before her marriage and after her divorce] speaks with Kyra Lynn Kaptzan about her early ballet training; joining the Stuttgart Ballet; working with John Cranko and Glen Tetley; Tetley as a director of the Ballet; her roles in the Stuttgart repertoire; touring; the Stuttgart School [Dance School, Stuttgart]; foreign companies that have appeared in Stuttgart; filming dance; a typical work day; diet; performance schedule; leisure activities, including while in New York City on tour; future plans.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Maria Tallchief speaks with Kyra Lynn Kaptzan about her American Indian heritage; early dance training beginning at age three; moving to California to study dance at age seven; studying with Bronislava Nijinska; training to be a concert pianist but preferring to dance; dancing with the Ballet Russe de Monte Carlo in Europe at the invitation of Tatiana Riabouchinska; performing with the Ballet Russe in Canada and being invited to join the company; being an understudy in Agnes de Mille's Rodeo; studying Nijinska's Chopin concerto first as understudy and then performing in it; performing George Balanchine's choreography in the musical comedy Song of Norway; her favorite roles with Ballet Russe including in Balanchine's Baiser de la fée; Balanchine's influence on her technique; favorite partners, including Nicholas Magallanes, André Eglevsky and Francisco Moncion; Balanchine's Firebird as her most important role; joining Ballet Society; performing as a guest artist with Erik Bruhn with American Ballet Theatre; dancing on television, including with Rudolf Nureyev on Bell Telephone hour; training dancers in Chicago and forming a dance company with the Chicago Lyric Opera [Chicago City Ballet]; working with Jacques D'Amboise; the company's repertoire of mostly Balanchine works; her decision to retire; her daugher; her sister Marjorie Tallchief's career and work with Dallas Civic Ballet; future plans.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Marianna Tcherkassky speaks with Kyra Lynn Kaptzan about her parents' backgrounds in the performing arts; studying ballet with her mother, Lilli-Ann Oka; studying with Edward Caton at the School of American Ballet; performing with the André Eglevsky Ballet; joining American Ballet Theatre; the broad repertory of American Ballet Theatre; substituting for Gelsey Kirkland in Don Quixote; originating the role of Clara in Mikhail Baryshnikov's The nutcracker; Baryshnikov's approach to creating and staging a work; her thoughts on his leaving American Ballet Theatre; the challenge of learning Twyla Tharp's different style of movement in her work Push comes to shove; her enjoyment in performing Glen Tetley's work, Voluntaries; her level of ease on stage depending on the nature of the role; diet; leisure activities.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Martine Van Hamel speaks with Kyra Lynn Kaptzan about her early dance training; traveling with her parents and studying internationally; studying at the National Ballet School in Canada during her high school years; joining the National Ballet of Canada; winning the gold medal at the 1966 International Ballet Competition in Varna; moving to New York City in 1969; dancing briefly with the Joffrey Ballet; joining American Ballet Theatre; performing in Swan lake as her first breakthrough at American Ballet Theatre; performing works by George Balanchine, Antony Tudor, Twyla Tharp and Glen Tetley; roles she will be performing in the upcoming season at American Ballet Theatre; the upcoming season at Jacob's Pillow [Jacob's Pillow Dance Festival in Lee, Mass.]; performances of her ensemble, Martine Van Hamel and Friends; small, independent touring ensembles; her interest in painting.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Merrill Ashley speaks with Kyra Lynn Kaptzan about the reasons for her rise in prominence at New York City Ballet, including her increased exposure onstage and her principal role in George Balanchine's Ballo della regina; performing roles often danced by Suzanne Farrell and Patricia McBride; dancing a variety of roles; works she would like to perform; rehearsing Ballo della regina with Balanchine, the first principal role he created for her; recording the New York City Ballet repertoire for the television program Dance in America, including the difficulties of filming for television; studying at School of American Ballet; living in New York City as a student; joining New York City Ballet; the possibility of dancing with other companies; changing her name from Linda Merrill to Merrill Ashley; leisure activities; injuries; attending performances of New York City Ballet and other companies.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Ronald Perry speaks with Kyra Lynn Kaptzan about his introduction to ballet, on television; his school audition with Arthur Mitchell and his early training at the Harlem School of the Arts; joining Dance Theatre of Harlem as an apprentice; attending the Professional Children's School; participating in high school track; his most influential teachers, including Karel Shook and Arthur Mitchell as well as Tanaquil Le Clercq; Corsair [Le corsaire] as the most challenging ballet; the variety of dance styles he performs, including jazz, ethnic and modern; attending performances of many different companies, with special attention to watching male dancers; admiration for the dancing of Fernando Bujones; the importance of Alexandra Danilova's teaching women's classes at Dance Theatre of Harlem; working with Glen Tetley and the demanding nature of performing his dances; touring with Dance Theatre of Harlem in Europe and across the U.S.; Dance Theatre of Harlem's audience reception and the building of new audience members; partnering many different female dancers; leisure activities; the increasing opportunities for black dancers.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Shaun O'Brien speaks with Kyra Lynn Kaptzan about his signature role as Drosselmeyer in The nutcracker at New York City Ballet; his use of make-up in creating character roles, for example, the father in George Balanchine's ballet Prodigal son; performing character roles such as Dr. Coppelius and Drosselmeyer; performing classical roles at Vitale Fokine's dance school concerts in Connecticut [Vitale Fokine Ballet School?]; dancing with "Alicia's company" [Ballet Alicia Alonso] and the " Marquis's company" [Grand Ballet de Monte Carlo, Marquis de Cuevas]; being selected by Janet Reed to perform character roles based on his performance as the mother in [Lew Christensen's ballet] Filling station; favorite roles, including Dr. Coppelius, the tray carrier in George Balanchine's La valse, and Von Rothbart; his long career with New York City Ballet and changes in the company during that time; touring; the company's seasons and the nature of the audiences in Saratoga [Saratoga Springs, N.Y.]; leisure activities; exercise and rehearsals; Balanchine's supervision of final rehearsals and his occasional performances, in the past, of the character roles O'Brien now performs.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Virginia Johnson speaks with Kyra Lynn Kaptzan about Dance Theatre of Harlem on the occasion of the company's tenth anniversary, including Arthur Mitchell's founding of the company and its school; performing with Washington Ballet [Washington, D.C.]; coming to New York to study modern dance at the Dance Department of New York University [New York University, School of the Arts, Dance Theatre Program]; taking classes with Arthur Mitchell in Harlem; the joint performance with New York City Ballet of George Balanchine's and Mitchell's work Jazz concerto [Concerto for jazz band and orchestra]; her roles in the Dance Theatre of Harlem repertoire, including a number of ballets with Tchaikovsky scores; the mixture of dance styles in the company repertoire; the current and possible future racial makeup of Dance Theatre of Harlem; its audience and building its audience through open houses; her enjoyment in performing both strictly classical and dramatic roles; her enjoyment in watching New York City Ballet and the European companies touring the U.S.; Mary Hinkson as her ideal dancer; starting her training in Washington, D.C., at age three and subsequently studying at the Washington School of Ballet [Washington, D.C.]; touring with Dance Theatre of Harlem in the U.S. and Europe and the audience reception; future plans.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Martin Bookspan interviews American composer and teacher Jack Beeson. Beeson talks about his early interest in opera; and about his decision to become an "opera-composer" that was influenced by Metropolitan Opera radio broadcasts; and about his career as a composer. The composer discusses each of the following works: Jonah (opera in two or three acts, libretto by the composer, adapted from the play by Paul Goodman) (1948-1950), Symphony no. 1 in A (1959), Lizzie Borden (opera in three acts, libretto by Kenward Elmslie, based on a scenario by Richard Plant, commissioned by the Ford Foundation) (1965), My heart's in the highlands (television opera, libretto by the composer, adapted from the play by William Saroyan, commissioned by the National Educational Television Opera Theater) (1969). Excerpts from Symphony no. 1 in A (second and third movements) and from the opera Lizzie Borden (second act) are played during the interview.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
The collection contains recordings of the radio programs which Diether wrote, including the series "The Life of Beethoven." In addition to the programs themselves, sound cues for the programs are included. The collection also contains appearences of Diether as a commentator on radio programs and intermission features from concert broadcasts. In addition to documentaries and commentary, there are recordings of concerts by the New York Mahlerites (today known as The Gustav Mahler Society of New York).
Content types:
Sounds
Extent:
67 recordings
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Martin Bookspan interviews jazz composer and pianist John Lewis. Lewis talks about his background as a musician, about his motivation, career and life. He discusses the beginnig of the Modern Jazz Quartet, creator and musical director of which he has been since it became a permanent group in 1951, and was formally incorporated in 1952. He talks about his work with Dizzy Gillespie and other jazzmen. He also reminiscences about his years in Paris. He speaks about his music written for films such as Odds against tomorrow (1959). At the end of the interview he talks about his plans for the future. During the interview excerpts from his Three little feelings (Second movement), Vendôme, from the film Odds against tomorrow, In memoriam, and Midsömmer (1957) are played.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Martin Bookspan interviews American classical composer and pianist Lee Hoiby. Hoiby talks about both of his careers: as a pianist and composer. Though at first he intended to pursue a career as a concert pianist, today he is more interested in composing, he says. The composer speaks about his early interest in composing, his background, his studies at Mills College, and then later at the Curtis Institute of Music with Gian Carlo Menotti, his life in New York City. He discusses various of his works such as two operas: Summer and smoke, and Natalia Petrovna; and the music he composed for two balets: After Eden (choreography by John Butler) and Suite for orchestra for Hearts, meadows, and flags (choreography by Richard Wagner). Excepts of two ballets are played during the interview.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
The Leo Reisman collection contains primarily private acetate disc recordings of Reisman's radio performances of the 1930's, as well as Reisman's personal collection of commercial 78 rpm discs. Included among the noncommercial recordings are extensive holdings of his Philip Morris Show and Schaefer's nine o'clock revue appearances. Less complete holdings for Lucky Strike's your hit parade are also included. The commercial disc collection is comprised mostly of Reisman's commercially released recordings, as well as a small number of other artists' recordings
Content types:
Sounds
Extent:
809 recordings
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Martin Bookspan interviews American contemporary classical music composer, pianist, conductor, and teacher Leon Kirchner. Kirchner talks about both of his careers: as a teacher and as a composer; about his students; about the performers he used to work with such as violinists Michael Spivakowsky and Isaac Stern; and about electronic tape music. The composer speaks about music by Arnold Schoenberg that influenced him, and he has composed a large quantity of music which is stylistically tied to the works of Schoenberg. He talks about his opera Lily (based on Saul Bellow's Henderson, the Rain King). The composer also discusses each of the following works, excerpts of which are then played during the interview: Music for orchestra (1970), Sonata concertante (for violin and piano, first movement) (1952), Quartet no. 3 (for strings and electronic tape).
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Adele Addison, soprano ; Russell Oberlin, counter-tenor ; David Lloyd, tenor ; William Warfield, baritone ; Westminster Choir ; John Finley Williamson, choir director ; The New York Philharmonic Orchestra ; Leonard Bernstein, conductor.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Lohengrin. Vorspiel / Richard Wagner -- Fledermaus. Selections / Johann Strauss -- Rigoletto. Selections / Giuseppe Verdi -- Tannhäuser. Selections / Richard Wagner.
Content types:
Sounds
Extent:
3 recordings
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Damnation de Faust. Overture / Hector Berlioz -- The Bartered Bride. Selections / Bedrich Smetena -- Traviata. Selections / Giuseppe Verdi -- Martha. Selections / Friedrich von Flotow.
Content types:
Sounds
Extent:
3 recordings
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Les contes d'Hoffmann. Overture / Jacques Offenbach -- Entführung aus dem Serail. Selections / Wolfgang Amadeus Mozart -- Boris Godunov. Selections / Modest Petrovich Mussorgsky -- Simon Boccanegra. Selections / Giuseppe Verdi.
Content types:
Sounds
Extent:
4 recordings
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Die Meistersinger von Nürnberg. Vorspiel (Act 1) / Richard Wagner -- Boris Godunov. Selections / Modest Petrovich Mussorgsky -- Samson et Dalila. Selections / Camille Saint-Saëns -- Love for three oranges. Selections / Sergei Prokofiev.
Content types:
Sounds
Extent:
3 recordings
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center