An unidentified speaker expounds on the idea of the final judgment of the individual more than the end of world, drawing primarily on the gospels of Christianity but also mentioning the idea of final judgment in Judaism, Islam, and other religions. The theme of personal salvation, from a Christian perspective is also extensively discussed.
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
A radio dramatization based on the story of the birth of the spirituals; script by Richard Durham. Spirituals sung by the Progressive Baptist Church Senior Choir.
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
Martin Bookspan interviews American contemporary music composer Elias Tanenbaum. Tanenbaum talks about his career as a composer, and the wide variety of musical styles that he writes; about his special interest in electronic and serial music composition; and about non-western and Western European influences on his works. The composer discusses in detail each of the following works, excerpts of which are then played during the interview: Patterns and improvisations (for brass quintet and tape) (1969); and electronic music created on the Arp synthesizer with soprano voice (Arp art: Blue fantasy, Movements, Contrasts, For the "Bird") (1973). For the "Bird" includes recorded excerpts played by alto saxophonist Charlie "Bird" Parker.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
WMBQ, Brooklyn NY -- Several hours of programming from October 1936 in English, Yiddish, German, Lithuanian, Polish, and Hungarian. WCNW, Brooklyn NY -- Several hours of programming from November 1936-January 1937, featuring local programming in English, Yiddish, German, Hungarian, and Polish. WSB, Atlanta, GA -- several hours of local coverage of the 1947 "Three Governors Crisis." WNAC, Boston -- one Yankee Network News broadcast from February 1935. WHDH, Boston -- one 1935 talk by local American Legion leader, several hours of "Matinee with Bob and Ray" broadcasts from 1948-51, WIND, Chicago -- complete aircheck of April 1955 Chicago Cubs baseball broadcast, only known example featuring sportscaster Bert Wilson; WAVE, Louisville KY -- four fifteen minute musical programs from April 1937 featuring local talent; KPRC, Houston -- several hours of local programming including the "Crustene Ranch Party," locally-broadcast live country music feature heard over Texas Quality Network.
Content types:
Sounds and Other
Formats:
Disc (Commercial, Homemade, Transcription), Reel-to-reel, and Audiocassette
Extent:
Approximately fifty hours of local radio material as part of a much larger collection of general radio programming.
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
10.5 inch reels of classical music performances from Radio Moscow, originally sent to Athens, GA radio station WDOL (on very fragile paper tape); concert recording of the Woody Herman band broadcast on WRFC
Martin Bookspan interviews composer, conductor, pianist, and teacher Lukas Foss. Foss talks about both of his careers: as a conductor and as a composer. Speaking about conducting career, he also discusses both of the posts that he held at the same time in 1970's: the conductor and musical director of the Brooklyn Philharmonia (renamed the Brooklyn Philharmonic) in New York, and the conductor of the Kol Yisrael (state radio) Orchestra in Jerusalem (now the Jerusalem Symphony). He discusses each of the following works, which are then played in their entirety: Ni bruit ni vitesse (for 2 pianos and 2 percussionists, playing on the piano strings) (1971), Non-Improvisation (for clarinet, cello, piano/harpsichord, electronic organ, percussion ad libitum (1967), and Paradigm (quintet for percussionist/conductor, electric guitar, and 3 other sustaining instruments) (1968).
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Interviews: Mrs. Carew, mother of six sons in the armed forces. Jack [John P.H. Jr.] Chandler, publisher of the Kearsarge Independent newspaper. Mrs. Frances W. Tulley, Home Fires Editor, 2 sons in the war. Sergeant ??(skips a little here) -- 2 yr veteran was at Normandy. Mrs. Cloues, whose son (Edward?) died at Pearl Harbor. Dick Townsend, owner of Kearsarge Inn. Mrs. Peggy Thomas and 2 1/2 yr old daughter Sally. Mr. Norm Hatfield, Principal of the Simonds High School. Herman Dow, 17 yr old worker at Wheeler's Drug Store. Anne White, Student. Pastor Ellis Eaton. Special Events staff of WMUR Radio, Al Mathie, announcer.
1&2 Dedication of Ceramics Building; World Science & Technology in 1960, Dr. C. Guy Suits; Dr. C. Guy Suits, sides 1 & 4; Powder Metallurgy Awards, William Coolidge and B. Benbow; Cermet Roundtable at Knolls; Sounds of Progress
Martin Bookspan interviews composer and music theorist George Perle. Perle discusses his background, his career as a composer, and his influences.The composer talks about his article on Webern's 12-tone sketches, and explains the 12-tone system that he uses in his music in some detail. He talks about the influence of Berg and Stravinsky in his composition, but though he uses aspects of their methods in his own composing, he never adoptes them fully. He speaks about the meaning of avant-garde and new classical music in past and today, and compares it to "conservative music." He discusses the opera Lulu by Alban Berg. The composer introduces each of the following works, which are then played in their entierty: String quartert no. 5, Solo partita (for violin and viola), Serenade no. 1 (for solo viola and chamber orchestra).
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 contemporary classical music composer George Rochberg. Rochberg talks about his career as a composer and his artistic evolution; about his musical style called serialism; about neoclassicism; and about the role of composer in modern world. The composer also discusses each of the following works, excerpts of which are then played during the interview: String quartet no. 3 (third movement) (1972), and live studio performance of Carnival music: suite for piano (Fanfares & march, Blues, Largo doloroso, Sfumato, and Toccata-rag).
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 Miriam Gideon. Gideon talks about her career as a composer. She discusses in detail each of the following works, excerpts of which are then played during the interview: Fantasy on a Javanese motive (for cello and piano) (1948), Rhymes from the hill (texts from the Galgenlieder by Christian Morgenstern, English translations by Max Knight, for mezzo-soprano, clarinet, marimba and cello), Piano suite no. 3 (1951), The seasons of time (for high voice, flute, cello, and piano, based on Tanka poetry of ancient Japan) (1969), Symphonia brevis (1953), The hound of heaven (words by Francis Thompson, for baritone, oboe, and string trio) (1945), and reads fragments from the poems by Christian Morgenstern.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
Light's Golden Jubilee; Midsummer Night's Dream; Jpage Morris Refrigerator Program; Eastern States Basketball Championship; General Electric Radio Hour; Mobil Radio Hour; Lucky Strike Hour; GE Concert Orchestra; An Evening in Paris; GE Concert Orchestra; Kane Krooners
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
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
6) New Hampshire War Finance Committee interview with Eleanor Roosevelt [sound recording]. 5) War bond salute to labor [sound recording] : from Berlin, N.H. for WKNE. 4) The essence of May [videorecording DVD] / May Gruber ; interviewed by Laura Knoy, New Hampshire Public Radio. 3) New Hampshire pledges for victory [sound recording] : foreign speech program. 1) A Tribute to New Hampshire : General Motors presents "The parade of the states" : Monday, August 29, 1932, 8:30 to 9:00 P.M., E.S.T. : WEAF and NBC coast to coast Red network. 2) New Hampshire War Finance Committee [sound recording]. [Interview with] Eleanor Roosevelt; program from WKNE.
Jonathan Schwartz talks about the life and career of American lyricist Yip Harburg, and plays recordings of various songs written by Yip Harburg as a tribute to him. Includes compilation of the excerpts from various intherviews with Harburg, and comments by Stephen Sondheim. Jonathan Schwartz and Stephen Sondheim read fragments from Harburg's lyrics.
Content types:
Sounds
Formats:
Audiocassette
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
"I have numerous air checks of old stations . . . these would be anywhere from 30 seconds to several minutes long but they usually capture important programming elements such as cell letters, jingles, newscasts, countdowns, bulletins, etc."
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 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
Conversation with Semu Huaute, Chumash Medicine Man, on a variety of topics. Recorded at a powwow held at Tonawanda, New York, in the summer of 1966. Broadcast by Radio WBFO (Buffalo, N.Y.) in November 1967. Also includes a brief speech by Mad Bear recorded at the same time.
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
Part of a series, "Red Man in Michigan," broadcast on WUOM (Ann Arbor, MI). Features "extensive clips from field recordings made by Gertrude Prokosch Kurath."
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
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
Democracy (1954), Short Wave—Mt. Van Hoevenberg Bobsled Ride taken by Howard Tupper—WGY, 1 p.m., Lake Placid, NY. (2/22/41), Houseboat Hanna (3/21/41), Howard Tupper—Vignettes Saratoga Harness, Etc. Golden Days of Radio—WMHT—Rise: Howard Tupper interviewed by Jack Keenan WGY—65th Anniversary, Bob Cudmore, 1987. Tup’s Memorial Service, 1986 50th Anniversary, Part 1 of 4. 50th Anniversary, Part 2 of 4. 50th Anniversary, Part 3 of 4. Feb. 15, 1972. 50th Anniversary, Part 4 of 4. Feb. 15, 1972. Dub of Remote from Hyatt House, Part 1 Dub of Remote from Hyatt House, Part 2 Dub of Remote from Hyatt House, Part 3 WGY Story, 30th Anniversary, Cut 1 and 2. WGY Story, Cut 3 and 4. WGY Story, Cut 5. Jan. 18, 1952. 1972 Recordings for Anniversary. Untitled, undated. WGY Radio Shows Hank and Tup, Last week of show Howard Tupper doing the Weather Track Talk with Tup: Entry for 1967 John Hervey Awards Tuttle on ‘Aunt Jane,’ Master 50th Anniversary Program Let’s Go Bowling Chase + Sanborn, 100th Anniversary Show, Nov. 15, 1964. 11-inch reel. Tupper Bowling, May 1960. 11-inch reel.
Recordings from various talk, interview, and telephone shows on NBC radio that Nebel conducted over his career, spanning the years 1964-69 (including Addio, Long John Nebel Phone Show, Long John Nebel All Night Show, Long John Nebel Early Hour, Straight Line, etc.). Nebel's programs dealt with a variety of topics, including religion, politics, medicine, and the theater. Many of the shows were concerned with psychic phenomena and the occult, with representative topics such as ESP, UFOs, hypnotism and spiritual healing.
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
Mostly recordings of music/talk related programs but including important news stories. Also have major studio sarchives of WABC-AM in New York City, WNEW-AM New York City, and others
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
Interviews and live concerts by local and national bands, several commercial music recordings, selected Pacifica programming. Date range = 1950s-70s, with additional material from 80s + 90s
News + public affairs shows (including coverage of Vietnam War protests + student takeover of campus administration building), freeform music shows, and "Film" and video interviews with former station workers. Additional documentation includes runs of station program guides. Dates pick up in 60s and run through 70s and beyond.
Content types:
Sounds and Other
Formats:
Disc (Commercial, Homemade, Transcription), Reel-to-reel, Audiocassette, Film, Videotape, Digital tape (DAT, DCC), and CD
Martin Bookspan interviews American contemporary composer William Mayer. Mayer talks about his studies at Yale University with Herbert Baumgartner; about his career as a composer; about his work with pianist William Masselos; and about his son pianist Stephen Mayer. Speaking about the variety of music he composed, Mayer says that he prefers to write show music. He speaks about his work as a treasurer for CRI (Composers Recordings, Inc.). The composer discusses in detail each of the following works, excerpts of which are then played during the interview: Octagon (for piano and orchestra, fifth and seventh movements) (1971), Piano sonata (first movement) (1959) that he composed in twelve-tone technique, Two news items: Hastily formed contemporary music ensemble reveals origins (for soprano and instrumental ensemble), Brass quintet (1965), Messages (for flute, string trio, and percussion) (1973), and Two pastels for orchestra.
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 Peter Mennin. Mennin talks about his life; about both of his careers: as the president of Juilliard School and as a symphonic composer; about his work with Juilliard Orchestra; about the future of both types of young contemporary composers: avant-garde and classical music composers. The composer discusses in detail each of the following works, excerpts of which are then played during the interview: Piano concerto (first movement) (1958), Symphony no. 7: Variation-symphony (for full orchestra) (1963-1964).
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 of contemporary classical music Robert Moevs. Moevs talks about his teachers, Walter Piston and Nadia Boulanger; about both of his careers, as a teacher at Harvard University and Rutgers University, and as a composer; and about his students. He discusses each of the following works, excerpts of which are then played during the interview: Attis (text by G. Catullus Veronensis) (1958), A brief mass (for chorus, organ, vibraphone, guitar, and double bass) (1968), Phoenix (for solo piano )(1971), Et occidentem illustra (Dante) (for chorus and orchestra, based on Divina commedia by Dante Alighier) (1964).
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
WRUC - Union College; Producer: Radio Division, Department of Theater Arts, University of California at Los Angeles and Audio-Visual Aids Section of the Los Angeles City Schools
Martin Bookspan interviews American composer and pianist Netty Simons. Simons talks about her studies at New York University with Percy Grainger, and later privately with Stefan Wolpe. She speaks about both of her teachers, and compares their personalities and their influences on her works. She discusses avant-garde music, and her career as a composer. The composer also talks about each of the following works, excerpts of which are then played during the interview: Trialogue no. 1: the tombstone told when she died and Trialogue no. 2: myselves grieve (for mezzo-soprano, baritone and viola; text by Dylan Thomas), Silver thaw (for 1 to 8 players) (1969), Five sprays of the snow fountain (for two pianos) (1970); and reads fragments from two poems by D. Thomas.
Content types:
Sounds
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
WGLT is licensed to Illinois State University and is affiliated with NPR. It was originally a student operated radio station, signing on the air on April 24th, 1962 as a closed circuit radio station. A few years later, on February 4, 1966, the station received FCC licensing and began FM boradcasting. The station became a full NPR member in the 1970's. Both the audio and paper records are unprocessed. In the past year, the university archivist and the station’s general manager (along with a School of Communication professor) started the process to inventory all the audio and paper records.
Content types:
Performed music, Sounds, Spoken word, and Text
Formats:
Open reel tape (unknown material), VHS (including SVHS and VHS-C), and 8-track cassette
Martin Bookspan interviews American composer, pianist, and writer on music Phillip Ramey. Ramey comments on his studies composition at DePaul University in Chicago; on his teacher, composer Alexander Tcherepnin; and about musical traditions in Chicago. He talks about his career as a pianist and composer. He discusses each of the following works, which are then played in their entirety: Piano sonata no. 1, Night music (for percussion), Commentaries (for flute and piano), Leningrad rag (freely based on Scott Joplin's Gladiolus rag), 5 Epigrams for piano, 3 Epigrams for violin and piano, and Piano fantasy.
Content types:
Sounds
Formats:
CD
Extent:
1 recording
Repository/Collector:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center