An extensive collection containing a diverse range of material about thousands of theatrical and musical personalities who appeared in New York City during the 18th-20th centuries. Collection covers both important and many lesser known personalities and includes personal correspondence, portrait engravings or lithographs, photographs, biographical data, clippings, articles, programs, playbills, original sheet music and sheet music covers. Also includes drawings, playscripts, scrapbooks, fan letters, manuscripts of biographies, sketches, texts of speeches and personal items. Check with Museum for specific personalities included in the collection.
Contains personal and professional files of the Chair of the Department of Veterinary Medicine and Obstetrics at the New York State College of Veterinary Medicine, including papers relating to radio programs.
Correspondence, manuscripts, drafts, notes, reports, legal briefs and other documents, books, clippings and other printed materials dealing with Fly's professional activities and relationships in all phases of his career. Fly was chairman of the FCC, 1939-1944, and a frequent lecturer about radio, television and freedom of speech.
Repository/Collector:
Rare Book and Manuscript Collections, Butler Library
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
Includes 501 scripts for the Claudia series plus sound recordings of some of the programs, scrapbook clippings and an audio tape interview of Franken (with typescript transcripts) conducted by her grandnephew, David Korr, in October, 1977.
Repository/Collector:
Rare Book and Manuscript Collections, Butler Library
William "Billy" Friedberg (1916-1965) is best remembered as a television comedy writer, although he also wrote plays, musicals, variety reviews, short stories, and radio programs. Among his best-known works are episodes of "Car 54, Where Are You?", "As Time Goes By", and "The Phil Silvers Show". Friedberg's work represented in this collection spans many genres, including comedy review sketches, TV dramas, short stories, plays, and musicals.
Extent:
5.7 linear feet
Repository/Collector:
Rare Book and Manuscript Collections, Butler Library
Twelve scripts for Neighbors: A Story of the Air, an adaptation for radio by Zona Gale and Marian de Forest of Zona Gale's "Friendship Village" that were aired over WEAF (NBC), between February 24 and May 29, 1933. Also includes correspondence between Gale and de Forest about the Neighbors series and an outline of the series.
Repository/Collector:
Buffalo & Erie County Public Library, Grosvenor Room
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
Consists of correspondence, manuscripts, typescripts, notes, photographs and printed materials relating to his research, writing and teaching. Also includes correspondence concerning his syndicated radio talks.
Repository/Collector:
Rare Book and Manuscript Collections, Butler Library
Contains scripts, production logs and information about Van Patten's career as a director, writer and on-air host at WRGB, 1951-1970s. In the 1960s Van Patten created documentaries about the harmful effects of gambling and teenage drinking.
Papers of a journalist, radio commentator and producer of Yiddish radio programs in Philadelphia and Miami, 1952-1958. The collection includes scripts of his radio talks, commentaries and other appearances, clippings from Yiddish newspapers about the radio programs, correspondence and sound recordings of Jewish folk music, theater music and cantorial music.
Repository/Collector:
Max and Frieda Weinstein Archive of YIVO Sound Recordings, YIVO Institute for Jewish Research
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
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
Consists of Levin's professional and research papers, professional correspondence and background material for the courses he taught. The research papers include talks, presentations and lectures on issues as they related to, or impacted on, media broadcast regulations.
Repository/Collector:
West Campus Library, University Archives, Hofstra University
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
Contains papers documenting Van Loon's career in radio beginning in 1929, including his time at NBC starting in 1932 and for WRVL, 1939-1940. Also includes manuscripts for broadcasts, 1935-1942.
In addition to the transcripts of the individual interviews, this collection consists of miscellaneous papers relating to the memoirists who were interviewed by the Oral History Office. Includes original papers, printed materials and microfilm copies of materials not retained by Columbia. One half of the collection consists of original notes, draft transcriptions, related correspondence and documents related to the Radio Pioneer Project. Of those papers only available on microfilm, about one-third have a list of contents.
Participants discuss the creation and development of WOR from several viewpoints. Accounts deal with broadcast news, trade unions, program innovations, music, technical developments and the effects of blacklisting. Includes portions of individual interviews with George Brown, Morton Gould, Henry Morgan and Jack Poppele.
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
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
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
Contains mostly radio scripts for The Right to Happiness. Also includes radio and television scripts for Doctor Eve, Days of Our Lives, Attorney at Law, Road of Life, From These Roots, Date with Life, The Verdict is Yours, Golden Windows, The Second Mrs. Burton, Woman in White, Zenith, There Was a Woman, The Wheels of Time, The Rising Tides, Return of Constance Curtis, Four Corners, U.S.A. and the Doris Blake Show. Also includes correspondence, plot synopses, notes, research for some of the scripts and some fan mail.
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
Contains correspondence, publicity, etc. for a 39-week radio series which was prepared by Time Inc., sponsored by the University of Rochester and broadcast over WHAM.
Letters about the formation of the Committee on Award of the Marconi Memorial Medal. The medal was to have been awarded annually for contributions to radio and David Sarnoff had been chosen as the first recipient but the Committee was dissolved as a result of a disagreement with the policies of the Italian government and the medal was never awarded.
Repository/Collector:
Rare Book and Manuscript Collections, Butler Library
Contains books, articles, scripts, including radio scripts, monologues and jokes written by Levenson. Also includes material written about him, as well as phonograph recordings, audio tapes, films, correspondence and memorabilia.
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
Includes photographs of radio programs and personalities. Contact the Museum for information about specific programs or people included in the collection.
Consists of Wyler's files as head of the Seminary's Office of Public Information which became the Communications Department which was involved with the Seminary's radio programs. See also Record Group 8, Radio and Television Department, and Record Group 11, Communications Department.
Woods discusses his early days at Broadcasting Corporation of America and NBC, an administrative view of broadcasting, commercials, the division of NBC into two networks and the formation of ABC.
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
Contains two pamphlets entitled "Farm Radio Programs: WEAI, 1930," published by the New York State College of Agriculture at Cornell University, and "Twenty Years of Broadcasting, 1925-1945, 1947," by Charles L. Taylor, a transcript of "Radio Station Development, Cornell University" by Elmer S. Phillips and bound volumes of Farm Radio Program quarterly issues, 1930-1944.
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
Contains mostly correspondence but also includes drafts of scripts, contracts, clippings and a few photographs, including material related to The Eternal Light.
Contains radio and television scripts, 1940s-1950s, some published, some typescript versions written by Wishengrad for The Eternal Light. Also includes a few scripts for Have Seen the Light, WQXR, 1947, Birthday of the World, 1950s, for ABC, and the NBC Inter-American University of the Air, 1944.