the juilliard school library and its special collections

The Juilliard School Library and Its Special CollectionsAuthor(s): Jane GottliebSource: Notes, Second Series, Vol. 56, No. 1 (Sep., 1999), pp. 11-26Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/900470 .

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THE JUILLIARD SCHOOL LIBRARY AND ITS SPECIAL COLLECTIONS

BY JANE GOTTLIEB

o

Juilliard's Lila Acheson Wallace Library is designed to support the performance and research needs of the Juilliard community. At present, the collection encompasses more than sixty thousand music-performance and study scores; twenty thousand books; nineteen thousand LP, com-

pact disc, cassette and reel tape recordings; two hundred periodical sub-

scriptions; and more than six hundred commercial videocassettes. Statistics never tell a complete story, however. Those who know the

school as a premier music conservatory would not be surprised to tour the shelves and find dozens of copies of each volume of Bach's Well- Tempered Clavier in every available edition, multiple copies of part sets of chamber works by Bela Bart6k, Ludwig van Beethoven, Alban Berg, Elliott Carter,Joseph Haydn, Wolfgang Amadeus Mozart, Franz Schubert, et al. (some of which inevitably wind up on the library's dreaded "miss-

ing parts" shelf), or volumes of songs by Johannes Brahms, Franz Schu- bert, Robert Schumann, and Hugo Wolf in versions for high, medium, and low voice-the "stuff" of conservatory libraries. The presence of fine collections of dance and drama materials, however, might surprise those who still refer to us as "the Juilliard School of Music"-a name that the school has not held since 1969 with its establishment of a Drama Division (a Dance Division had been established in 1951) and its move to Lincoln Center. And the presence of distinguished special collections of rare editions, manuscripts, and archival materials at Juilliard has been some- thing of a local secret until recent years, in part because information on some of these special collections is not yet available in the OCLC data- base. This article provides historical context for the Juilliard School Library and information about some of its special-collection holdings. Fittingly, its appearance in the September 1999 issue of Notes corre- sponds with the completion of a full-scale, three-million-dollar library renovation project, the centerpiece of which is the new Peter Jay Sharp Special Collections Room for state-of-the-art storage of Juilliard's rare materials.

Jane Gottlieb is head of theJuilliard School Library.

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NOTES, September 1999

HISTORY'

The history of the Juilliard School and its library incorporates the history of two separate institutions: the Institute of Musical Art (I.M.A.), founded by Frank Damrosch in 1905, and the Juilliard Graduate School, established in 1924 with a twenty-million-dollar bequest from the estate of textile merchant Augustus D. Juilliard. Frank Damrosch (1859-1937), the eldest son of violinist, conductor, and composer Leopold Damrosch and the godson of Franz Liszt, sought to establish a conservatory that would rival the European conservatories of the time and provide a high- quality music education for Americans on American soil. Damrosch was strongly committed to the principles of a general music education firmly grounded in ear training and sight-singing, preferably starting at a young age. He had served as supervisor for music education for the Denver, Colorado, public schools and, from 1897 to 1905, filled a similar position for the New York City public schools. The organizer of such groups as the People's Singing Classes (founded 1892), the People's Choral Union (founded 1894), and the Musical Art Society (founded 1893), Damrosch was a major figure in New York musical life at the turn of the century.2

Damrosch was able to realize the establishment of the Institute of Musical Art with the financial backing of James Loeb (1867-1933), amateur musician, humanist, and scion of the Kuhn, Loeb & Co. financial dynasty.3 With the promise of Loeb's gift of five hundred thousand dollars, Damrosch traveled to Europe in spring 1904 to study music conservatories in Paris, Vienna, Berlin, London, and other major cities, and to refine his plans for the Institute:

In my opinion, an American school of music should differ materially from the existing European schools. Our conditions are different and our needs are different. We need an institution, not alone for the training of professional musicians, but for the development of true musical culture among all classes. Unlike most of the countries of Europe, in which music is part of the home life and of the national life, and where much of the spirit of music is absorbed unconsciously from the cradle up, we have few such influences in America. ... An American school of music must therefore supply, first of all, a thorough general music education for the large number of persons who de-

1. For information on the school's history and a description of its historical records, see Jane Gottlieb, Stephen E. Novak, and Taras Pavlovksy, eds., The Guide to the Juilliard School Archives (New York: Juilliard School, 1992).

2. Detailed information on Frank Damrosch and the Damrosch family is found in George Martin, The Damrosch Dynasty: America's First Family ofMusic (Boston: Houghton Mifflin, 1983).

3. See Dictionary of American Biography, suppl. 1 (New York: Charles Scribner's Sons, 1944), s.v. "Loeb, James," by Ashton Rollins Sanborn; additional information on Loeb and the Warburg family's involve- ment with I.M.A. and Juilliard is found in Ron Chernow, The Warburgs: The Twentieth-Century Odyssey of a RemarkableJewish Family (New York: Random House, 1993).

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The Juilliard School Library

Fig. 1. Lenox Mansion, Fifth Avenue at 12th Street, home of the Institute of Musical Art from its founding in 1905 until its move to Claremont Avenue in 1910.

sire to study music for their enjoyment. This will tend to create the broad foundation of musical culture which is absolutely necessary in order to make effective the other and no less important function of the school, namely, to provide the highest class of instruction and training to those who are quali- fied to become professional musicians.4

Damrosch assembled a faculty of renowned musical artists, many of whom were European immigrants. Among the members of the I.M.A.

faculty for the 1905/6 academic year were pianist Sigismond Stojkowski, violinist Franz Kneisel, and flutist Georges Barrere; theory was taught by Percy Goetschius, and pedagogy by Damrosch himself. The Institute's board of trustees included Loeb, Damrosch, Charles O. Brewster, Cornelius C. Cuyler, Elkan Naumburg, Eliot Norton, Rudolph E. Schirmer, Isaac N. Seligman, and Paul M. Warburg, among others.

Prior to the Institute's official opening on 11 October 1905, the trustees asked Damrosch how many students he expected to enroll. Since he had not done much advertising for the new school, he replied

4. Frank Damrosch, Institute of Musical Art, 1905-1926 (New York: Juilliard School of Music, 1936), 9-10.

13




that he hoped for about 150. The opening enrollment in October 1905 was actually 281; by March 1906, 467 students were enrolled.5 The first home of I.M.A. was the former Lenox mansion on Fifth Avenue and 12th Street (fig. 1). In 1910, the school moved to a new building on Clare- mont Avenue near Columbia University.6

The origins of the Juilliard Graduate School were quite different from those of the Institute. When Augustus D. Juilliard died in 1919, his will included a large bequest "to aid worthy students of music in securing a

complete and adequate musical education."7Juilliard had been a trustee and supporter of the Metropolitan Opera Company during his lifetime, but was not otherwise involved in music or music-education activities.8 The executors of his estate established the Juilliard Musical Foundation in March 1920, with a board of directors led by retired minister Eugene A. Noble (1868-1948). In 1924, the Foundation established the Juilliard Graduate School in the former Vanderbilt guest house at 49 East 52d Street to further the musical education of talented artists.

Damrosch and the I.M.A. trustees were concerned about the establishment of a potential rival institution in their own city. They were already aware of the competition posed by the establishment, in 1924, of the well-endowed Curtis Institute in Philadelphia, and also noted the active work of the Eastman School in Rochester, which had been established in 1913. In 1924, the I.M.A. directors suggested that they hoped to cooper- ate with the trustees of the Juilliard Musical Foundation without chang- ing the character or programs of either school.9 On 28 October 1926, the Juilliard School of Music was created through a merger of the Institute of Musical Art and the Juilliard Graduate School. Although the two schools were joined under one president (John Erskine) and one board of trustees and occupied adjoining buildings on Claremont

5. Damrosch, 48-49. 6. For a detailed history of the Claremont Avenue building, which is now the home of the Manhattan

School of Music, see Andrew S. Dolkart, Morningside Heights: A History of Its Architecture & Development (New York: Columbia University Press, 1998), 245-74.

7. Augustus D. Juilliard, "Last Will and Testament," 29 March 1917, 16-17.Juilliard School Archives, New York, N.Y. The exact amount of the Juilliard bequest was a matter of some controversy. Various newspapers of the time quoted figures of five million, ten million, and thirteen or fourteen million dollars. By 1927, articles about the merger of the Institute of Musical Art and the Juilliard Graduate School referred consistently to the twenty million dollar figure. See "Hutcheson Chosen Dean of Juilliard School; Erskine Heads Administrative Body in Reorganization of Foundation," Musical America, 23 July 1927, 5.

8. See Dictionary of American Biography (New York: Charles Scribner's Sons, 1933), s.v. "Juilliard, Augustus D.," by William Bristol Shaw, and "To the Glory of Music: A Fund for the Art Bequeathed by Augustus D.Juilliard," The Baton, 30January 1936, 3.

9. Damrosch, 198-99.

14



TheJuilliard School Library

Avenue,'1 they maintained distinct identities, with separate deans, facul- ties, student bodies, entrances, and libraries. (The schools shared a reference library, but each had its own circulating library.) Students at the Institute of Musical Art followed carefully prescribed courses of study as part of the general musical education envisioned by Damrosch. The Juilliard Graduate School was the more elitist of the two institutions: it admitted only those considered to be the most "worthy" musicians and

provided them with full fellowships to study under artist-teachers without other curricular requirements. Students were admitted provisionally for one-year periods and allowed to continue if they showed satisfactory progress. Faculty of the Juilliard Graduate School included pianists Rosina and Josef Lh6vinne, Olga Samaroff, Carl Friedberg, James Friskin, Ernest Hutcheson (who also served as dean), Alexander Siloti, and Oscar Wagner; voice was taught by Marcella Sembrich, Anna Schoen-Ren6, Florence Page Kimball, Paul Reimers, and Francis Rogers; violin by Edouard Dethier, Paul Kochanski, Hans Letz, and Louis Persinger; cello by Felix Salmond; composition and theory by Rubin Goldmark and Bernard Wagenaar; and orchestral conducting by Albert Stoessel." The complete amalgamation of the two institutions was finally completed in 1946 under the presidency of William Schuman. At alumni gatherings today, alumni of the Juilliard Graduate School proudly point out that they were students at the Graduate School rather than at the Institute.

The rest of Juilliard's history will be recounted in abbreviated form. Other highlights of the presidency of William Schuman, who served from 1945 to 1961, include the establishment in 1946 of the Juilliard String Quartet; the creation in 1947 of the Literature and Materials of Music (L & M) curriculum for teaching music theory; and the establishment in 1951 of the Dance Division under the direction of the late Martha Hill.12 In 1957, Schuman accepted the invitation from the newly created Lincoln Center for the Performing Arts organization forJuilliard to become its educational constituent. Schuman resigned from Juilliard to become president of Lincoln Center in 1962.

Composer Peter Mennin served asJuilliard's president from 1962 until his death in 1983. Mennin instituted the school's Doctor of Musical Arts

10. In 1931, the Juilliard Graduate School moved to a new building adjacent to I.M.A. on Claremont Avenue (see Dolkart, 264-66). The opening of the new building was celebrated with a gala concert of the combined orchestras of the Institute of Musical Art and the Juilliard Graduate School conducted by Leopold Stokowski, a solo recital by Sergey Rakhmaninov, and two performances of Louis Gruenberg's opera Jack and the Beanstalk, with a libretto byJohn Erskine.

11. Faculty listing from 1930/31Juilliard Graduate School prospectus. 12. The Literature and Materials of Music program is described in TheJuilliard Report on Teaching the

Literature and Materials of Music (New York: W. W. Norton, 1953).

15




degree program in 1966, established the Drama Division under the direction of John Houseman and Michel St. Denis in 1968, and oversaw the actual move of the school to Lincoln Center in 1969.

Joseph W. Polisi was appointed Juilliard's president in 1984. Under his direction, the school has further refined its mission and programs. He has overseen an extensive reworking of the school's humanities and liberal arts curricula, developed wide-ranging community outreach programs, and built Juilliard's first student housing, the Meredith Willson Residence Hall, which opened in 1990. His strong support of the library collection has enabled implementation of our Innovative Interfaces online library system, significant collection growth, and the recently completed renovation project.

At present, the library supports a community of 805 FTE students (658 musicians, 79 dancers, and 68 actors), 250 faculty members, 187 administrators, 363 Pre-College Division students ranging in age from eight to eighteen, and approximately 650 Evening Division students who take credit and noncredit courses each semester.'3 More than fifty thousand items were checked out during the 1997/98 academic year.

SCHIRMER LIBRARY

Key to the development of Juilliard's library collection was the presence of Rudolph E. Schirmer (1859-1919) on the original I.M.A. board of directors. The son of Gustav Schirmer, founder of the G. Schirmer publishing house, Rudolph Schirmer donated the materials for the Institute's library.

Schirmer's original donation comprised a "Reference Library" of nearly fifteen hundred books and one thousand scores (primarily opera vocal scores). He also donated the G. Schirmer Circulating Library to the Institute. During the latter part of the nineteenth century, the G. Schirmer firm (an outgrowth of the Kerksieg and Breusing Company) was one of the largest importers of European music editions to the United States.'4 There was not yet a public music library in New York City, and the G. Schirmer Circulating Library served as a lending library for local and visiting performers.'5 In fact, it continued to serve this role after its placement at the Institute. In 1906, library subscribers could borrow up to six scores a week for a fee of ten dollars per year; I.M.A. stu-

13. Statistics for 1998/99 academic year. 14. See The New Grove Dictionary of American Music (New York: Macmillan, 1986), s.v. "Schirmer, G.,"

and Paul Henry Lang, "Portrait of a Publishing House," in One Hundred Years of Music in America, ed. Paul Henry Lang (New York: G. Schirmer, 1961), 9-21. "Breusing" is misspelled "Bruesing" in the lNew Grove article.

15. The circulating music collection of the New York Public Library was established in 1920. The Music Division of the New York Public Library, which is a noncirculating research collection, was established in 1911.

16



The Juilliard School Library

dents were allowed to borrow scores from the G. Schirmer Circulating Library at reduced rates.16

Many of the surviving printed scores from the original Schirmer Reference and Circulating Libraries are now part of our special-collection holdings. As indicated above, the Schirmer gift was especially rich in

holdings of opera vocal scores, many of which are now quite rare. Most of the vocal scores date from the early- to mid-nineteenth century, al-

though there are also a small number of eighteenth-century prints as well as some early-twentieth-century editions.17

Recently, the library's copy of the 1849 Chabal edition vocal score of Verdi's II corsaro was used as a source for the critical edition of the score in The Works of Giuseppe Verdi.18 In this case, the significance of the source was found in the markings by a soprano who perhaps borrowed the score from the G. Schirmer Circulating Library during one of her American tours. Andrew Porter discovered this source, which includes vocal vari- ants to the "Cavatina Gulnara" made by the nineteenth-century soprano Ilma Di Murska.19

The handwritten annual reports of the Reference Library of the Institute of Musical Art from 1905/6 to 1938/39 are preserved in a bound volume in the Juilliard School Archives. The librarians carefully recorded the growing number of volumes in the collection, the number of readers, and the gifts received. This volume provides a fascinating view of the library's activities in its early years. It records additional gifts from Mr. Schirmer as well as significant donations from Henry E. Krehbiel (a member of the I.M.A. faculty), Frank Damrosch, Percy Goetschius, and many others.20

The library's holdings of orchestral scores were enhanced through significant donations from Edwin Francis Hyde in 1928/29 and from Walter Damrosch (Frank's brother) in 1932/33. Hyde was a banker and amateur musician who served as president of the Philharmonic Society of New York from 1888 to 1901. From 1894 to 1928, he assiduously recorded the durations of performances by the Philharmonic Society

16. Catalogue of the Institute oJ Musical Art, 1906/7, 20. Public use of the school's circulating score collection appears to have continued until about 1947.

17. Most, but not all, of Juilliard's holdings of pre-1800 printed editions are listed in Repertoire International des Sources Musicales, Series A/I (Kassel: Barenreiter, 1971-).

18. The 1Works of Giuseppe Verdi, ser. 1, Operas, vol. 13, II corsaro: Melodramma Tragico in Three Acts, ed. Elizabeth Hudson (Chicago: University of Chicago Press, 1998).

19. See The Works of Giuseppe Verdi, ser. 1, Operas, vol. 13, Il corsaro: Melodramma Tragico in Three Acts: Critical Commentary, ed. Elizabeth Hudson (Chicago: University of Chicago Press, 1998), 43-51. Porter first described this source in "Verdi's Audacious Corsair," High Fidelity 26 (September 1976): 77-79.

20. Additional notes on the development of Juilliard's library collection are provided in two unpublished articles by Bennett Ludden found in the Librarian's office files: "The Library of the Juilliard School 1947-1972" and "A Few Notes from the Library." Ludden served asJuilliard's librarian from 1957 to 1979.

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and the Symphony Society of New York (the predecessors of the New York Philharmonic) into his own scores. The collection that he donated to the Institute of Musical Art thus provides important documentation of orchestral performance practice from these years.21 Walter Damrosch's collection included much of the standard nineteenth-century symphonic repertory as well as works by such "contemporary" composers as Frederick S. Converse, Alexander Glazunov, Reinhold Gliere, Eugene Goosens, Charles Martin Loeffler, Gian Francesco Malipiero, John Knowles Paine, Hans Pfitzner, and Igor Stravinsky.

Juilliard's library collection was built primarily through donations of this type in its early years. Its strengths and weaknesses reflected the tastes and musical predilections of the school's faculty, administrators, and associates. Purchases appear to have centered primarily on subscrip- tions to complete-works editions, monuments, and periodicals, as well as on replacement copies for worn or lost items. In 1950, three years after the official merger of the I.M.A. and the Juilliard Graduate School libraries, the librarian's report (now typewritten) documented 5,726 books (2,775 academic books and 2,951 books on music) and approximately 7,400 sound recordings. The report also noted that it was impossi- ble to determine the exact number of scores in the collection, since materials were still scattered among several locations.

RUTH DANA COLLECTION OF LISZT EDITIONS 22

The librarian's annual report for the 1914/15 year documents the re-

ceipt of one of the library's most important collections of nineteenth-

century piano editions: thirteen volumes of Liszt's piano compositions from the family of Ruth Dana. These volumes contain almost two hundred first and early editions of Liszt's original piano works, transcrip- tions, and arrangements. Ruth Dana Draper (1850-1914) was an accom-

plished pianist and, with her husband Dr. William Henry Draper, a

prominent supporter of the arts in New York City at the turn of the

century. More is known about two of Mrs. Draper's eight children- the monologist Ruth Draper (1884-1956) and the singer Paul Draper (1886-1925)-than about Mrs. Draper herself. Sources reveal that she and her husband were close friends and strong supporters of Paderewski

during the pianist's American tours; in her introduction to The Letters of

21. Hyde's timings were documented by Donald C. Seibert in The Hyde Timings: A Collection of Timings Made at Concerts in NVeo York City betzeen 1894 and 1928 (New York:Juilliard School of Music, 1964).

22. Further information on this collection and a complete index of its contents are found in my article "Liszt Collections in New York City Libraries," in Liszt and His World: Proceedings oJ the International Liszt Con/erence Held at Virginia Polytechnic Institute and State University, 20-23 May 1993, ed. Michael Saffle (Stuyvesant, N.Y.: Pendragon Press, 1998), 137-79.

18




Ruth Draper, 1920-1956, editor Neilla Warren writes that the Draper children told of "roller-skating home from school to see the curtains blowing out of the open windows and hearing their mother and Paderewski giving full rein to their talents on the two concert grand pianos in the drawing room."23 In any case, we are certainly pleased that Mrs. Draper amassed such a large and significant collection of Liszt's piano music. Among the highlights of the collection are the complete set of Liszt's arrangement of Ferdinand David's Bunte Reihe, with color lithographed title pages designed by Friedrich Kratzschmer; the complete set of his arrangement of Schubert's Schwanengesang; and first editions of Annees de pelerinage and many other works. It is unfortunate that Mrs. Draper chose to bind the individual editions together-a common practice of personal collecting in earlier times that presents a preservation and access prob- lem for librarians today. The entire collection has been microfilmed, and copies of individual editions may be provided upon request.

INDIVIDUAL MANUSCRIPTS AND LETI'EKS

The library's collection of several hundred individual manuscript scores and autograph letters was also developed primarily through donations. Among those items that came to us through connections to school administrators and faculty are manuscripts of Ernst Toch's Phantastische Nachtmusik (1921) for orchestra, which was dedicated to Frank Dam- rosch; the manuscript of a Violin Concerto (1874) by Leopold Dam- rosch; manuscripts of works by Ernest Hutcheson, president of the Juilliard School of Music from 1937 to 1945; and several manuscripts of works by Bernard Wagenaar, who was a member of Juilliard's faculty from 1925/26 through 1966/67. Significant manuscript materials came to the library through Louis Persinger (1887-1966), who was a member of the violin faculty from 1930 until his death. In addition to his important donation of Ysaye manuscripts (described below), Persinger donated manuscript scores by Ralph Shapey (his Etchings, op. 21, for violin solo) and Wallingford Riegger ( Whimsy, a short work from 1920 for violin or cello and piano).

Of course the highlights of Juilliard's collection of individual manuscripts are two songs by Johannes Brahms: "Sehnsucht," op. 49, no. 3 (fig. 2), and "Im garten am Seegestade," op. 70, no. 1. These manuscripts were donated to Juilliard in 1972; they are described fully in Margit McCorkle's thematic catalog of the works of Brahms.24

23. Neilla Warren, ed., The Letters of Ruth Draper, 1920-1956: A SelfPortrait of a Great Actress (New York: Scribner's, 1979), 4.

24. Margit L. McCorkle, Johannes Brahms: Thematisch-bibliographisches Werkverzeichnis (Munich: Henle, 1984), 198, 300.

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The library's collection of individual autograph letters and handwritten documents is an odd assortment of items of varying degrees of interest and value, ranging from cartes de visites to letters with significant commentary on musical subjects. The unrivaled highlight of this collection is

Wagner's three-page handwritten critique of the Koningsberg premiere of Bellini's Norma on 8 March 1837.25 Other items of note include auto-

graph letters by Alban Berg, Hector Berlioz, Clara Schumann, Robert Schumann, Friedrich Wieck, Carl Maria von Weber, Cosima Wagner, and Richard Wagner.26 All of the library's autograph letters and most of the manuscript scores have been microfilmed.

YSAYE COLLECTION

Juilliard houses a large and important collection of manuscripts by the Belgian violinist-composer Eugene Ysaye (1858-1931). Most of these

manuscripts came to us through Louis Persinger, who had studied with Ysaye. Persinger himself was the teacher ofYehudi Menuhin, Isaac Stern, Ruggerio Ricci, Guila Bustabo, Sonya Monosoff, Camilla Wicks, and

many others.27 Among the highlights of Persinger's donation are manu-

scripts of three of Ysaye's six solo violin sonatas (nos. 2, 3, and 6); the Trio for Two Violins and Viola, op. 35; the Concerto in D Minor for Violin and Orchestra; Exil for strings; and several cadenzas and sections of larger works. During the last few years, we have enhanced the Ysaye holdings through selected purchases and a major donation of the collection ofJeannette Dincin Ysaye, the violinist's third and last wife.

Jeannette Dincin was a young American violinist who studied with Ysaye while he was serving as conductor of the Cincinnati Symphony Orchestra from 1918 to 1922. She returned to Belgium with him in 1923; they were married in 1927. After Ysaye's death in 1931, Jeannette maintained close connections with members of the Belgian royal family and many musicians close to Ysaye, notably Pablo Casals. The Jeannette Dincin Ysaye collection at Juilliard contains her correspondence with Ysaye, Queen Elizabeth, Casals, and many others, along with several Ysaye manuscripts and dozens of printed scores with his markings. Of particular interest among the music manuscripts is Ysaye's own arrange-

25. See Friedrich Lippmann, "Ein Neuentdecktes Autograph Richard Wagners: Rezension der Konigsberger Norma Aufffihrung von 1837," in Musicae Scientiae Collectanea: Festschrift Karl Gustav Fellerer z. 70. Geburtstagam 7.Juli 1972, ed. Heinrich Huschen (Koln: Volk, 1973), 373-79.

26. The library's Wagner letter of 11 July 1846 is listed in Werner Breig, Martin Durrer, and Andreas Mielke, Wagner-BrieJf-Verzeichnis: Chronologisches Verzeichnis der Brie/e von Richard Wagner (Wiesbaden: Breitkopf & Hartel, 1998), 97.

27. See The New Grove Dictionary of American Music (New York: Macmillan, 1986), s.v. "Persinger, Louis," by Boris Schwarz; Margaret C. Hart, "Louis Persinger: A Tribute on his 75th," Juilliard Review 9, no. 1 (winter 1961-62): 4-8; and Yehudi Menuhin, "Louis Persinger," Juilliard Reviezn Annual, 1966-67, 15.

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Fig. 2. Johannes Brahms, "Sehnsucht," op. 49, no. 3. Stichvorlage. Lila Acheson Wallace Library, Juilliard School.

ment for violin and piano (or organ) of Chausson's Poeme, op. 25, which was dedicated to him. The published scores with his markings provide important documentation of his own performance and teaching styles.

JUILLIARD EDITIONS AND JUILLIARD COMMISSIONS

The library collection is rich with materials documenting Juilliard's long tradition of support for the creation and performance of new work. In 1927, the Juilliard Musical Foundation established a program to pub- lish the works of American composers through a series of "Juilliard Editions." From 1929 to 1946, twenty-nine works were published in this series in conjunction with C. C. Birchard, Kalmus, Carl Fischer, and the American Music Center.28 The library houses a complete set of these editions; a listing is provided in the appendix (pp. 25-26 below).

Manuscripts and manuscript photocopies of works commissioned by Juilliard are a significant component of the library's special-collection

28. Ten of the editions were published by C. C. Birchard, ten were published by Edwin F. Kalmus, eight by the American Music Center, and one by Carl Fischer, Inc.

21




holdings. A formal commissioning program was instituted by Juilliard president William Schuman in 1946.29 During the years 1946-56, more than twenty-five new works were commissioned by Juilliard, including Leonard Bernstein's Brass Music, Darius Milhaud's Unejournge for piano, and Aaron Copland's Piano Fantasy.30 The commissioning program was revived in 1969 when the school moved to Lincoln Center, with commissions granted to such composers as Luciano Berio, Pierre Boulez, Elliott Carter, Hall Overton, Goffredo Petrassi, George Rochberg, Gunther Schuller, William Schuman, Roger Sessions, and others. President Polisi has recently established a new large-scale commissioning program for Juilliard. Recent commissions include Milton Babbitt's Quintet for Clarinet and String Quartet and David Diamond's Concerto for String Quartet and Orchestra, both of which were commissioned for the fiftieth

anniversary of the Juilliard String Quartet in 1996.

SOULIMA STRAVINSKY COLLECTION

In 1997, the library received the Soulima Stravinsky Collection from Mrs. Francoise Stravinsky, the composer's widow, and John Stravinsky, his son. Soulima Stravinsky (1910-1994), the son of Igor Stravinsky, was a noted composer, pianist, and teacher as well as an important interpreter of his father's works. The collection consists of original manuscripts of Soulima Stravinsky's own compositions along with hundreds of published scores and books from his personal library. Among these is a

complete collection of Igor Stravinsky's published scores, many of which contain the composer's own handwritten annotations and markings.

Particular highlights of the Igor Stravinsky materials are engraver's proofs for scores of Les noces and Ragtime, as well as heavily annotated

copies of Apollon Musagete, the Concerto in El for Chamber Orchestra ("Dumbarton Oaks"), Oedipus Rex (vocal score), L'oiseau de feu (piano score), Petrushka, Pulcinella, Quatre chants russe, and Rossignol. The collection also contains photocopies of the holograph sketches and copyist's manuscript score of an unpublished Igor Stravinsky work: his 1904 song "Kak griby na voinu sbiralis'" ("The Mushrooms Going to War"; fig. 3), which is accompanied by Soulima Stravinsky's own unpublished edition of the work.31

29. Although the 1946 commissioning program stipulated that manuscripts of commissioned works must be deposited in Juilliard's library, regrettably this was not always done. The library does not have manuscripts of all of the Juilliard commissions.

30. Copland's Piano Fantasy was commissioned forJuilliard's fiftieth anniversary and received its premiere at the school by William Masselos on 25 October 1957.

31. For a complete discussion of this work, see Richard Taruskin, Stravinsky and the Russian Traditions: A Biography of the Works through Mavra, 2 vols. (Berkeley: University of California Press, 1996), 1:138-62. The song is also mentioned in Eric Walter White, Stravinsky: The Composer and His Works, 2d ed. (Berkeley: University of California Press, 1979), 175, 599.

22




Fig. 3. Igor Stravinsky, "Kak griby na voinu sbiralis'" ("The Mushrooms Going to War"). Photocopy of copyist's manuscript. Soulima Stravinsky Collection, Lila Acheson Wallace

Library, Juilliard School.

OTHER SPECIAL COLLECTIONS: A SELECTED LIST

Ernest Newman Collection

Juilliard received the papers of music critic Ernest Newman (1868- 1959) in 1977 from Walter Legge and Andrew Porter, the executors of Newman's estate. The collection comprises 7.65 cubic feet (twenty-three boxes) of Newman's correspondence and handwritten notebooks for his books on Liszt, Wagner, and many other subjects. Also included and preserved on microfilm are a full set of newspaper clippings of Newman's music criticism for various British newspapers from 1905 to 1959. A find-

ing aid for the collection is available.

Jennie Tourel Collection

The library received Jennie Tourel's collection in 1991. The collection

comprises 4.75 cubic feet (fourteen boxes) of correspondence, programs, newsclippings, publicity materials, scrapbooks, and photographs documenting Tourel's performing and teaching career from about 1946

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through 1973. Included in the correspondence files are letters from Leonard Bernstein (Tourel's frequent collaborator), Joseph Canteloube, Mario Castelnuovo-Tedesco, Aaron Copland, Luigi Dallapiccola, David Diamond, Paul Hindemith, Serge Koussevitzsky, James Levine, Darius Milhaud, Francis Poulenc, Ned Rorem, Igor Stravinsky, and Virgil Thomson. A finding aid is available.

In addition to her personal papers, the library also received hundreds of published scores from Tourel's personal library. Tourel was a member ofJuilliard's faculty from 1963 through 1973.

Leonard Raver Collection

The Leonard Raver collection includes his personal papers (approximately eight cubic feet of correspondence, notebooks, concert programs, and photographs), more than five hundred unpublished scores, and almost three hundred reel-to-reel and cassette tapes of his performances. Organist Leonard Raver (1927-1992) was a strong supporter of

contemporary composers, and his collection includes manuscripts of

many of the works that he commissioned and premiered. A finding aid is available.

Gold and Fizdale Collection

In 1996, the library received personal papers, scores, and recordings from the estate of Robert Fizdale (1920-1995). With his partner Arthur Gold (1917-1990), Fizdale helped transform the duo-piano repertory by commissioning and performing many new works. Fizdale and Gold met

during their student years atJuilliard. In addition to their performing ca- reers, they cowrote three books.32 Their collection includes manuscripts and manuscript photocopies of many of the works they commissioned and premiered by such composers as Samuel Barber, Paul Bowles, Darius Milhaud, Francis Poulenc, Vittorio Rieti, Ned Rorem, and Germaine Tailleferre. A preliminary finding aid is available.

Tossy Spivakovsky Collection

Among the library's recent acquisitions is the collection of violinist Tossy Spivakovsky (1907-1998), comprising approximately fourteen cubic feet of personal papers (correspondence, contracts, programs, and photographs) and more than two thousand music scores. Included among the scores are several hundred manuscripts and manuscript copies of works that were performed by or written for Spivakovsky, such

32. Arthur Gold and Robert Fizdale, The Divine Sarah: A LiJe oJ Sarah Bernhardt (New York: Knopf, 1991); Misia: The Life oJ Misia Sert (New York: Knopf, 1980); and The Gold and Fizdale Cookbook (New York: Random House, 1984).

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as Leon Kirchner's Sonate Concertante and Roger Sessions's Concerto for Violin, Violoncello, and Orchestra. Spivakovsky was a member of Juilliard's faculty from 1974 to 1989. A preliminary finding aid is available.

JUILLIARD SCHOOL ARCHIVES33

This article could not have been written without the resources of the

Juilliard School Archives, which contain the administrative records of the school and its predecessor institutions, the Institute of Musical Art and the Juilliard Graduate School. The collection is administered by the library and includes the administrative papers of school officers, cata-

logs, concert programs, biographical files, thousands of photographs, and other related materials.

Since its founding in 1905, the Juilliard School has played a major role in American cultural life. The school's faculty and alumni-past and present-include many of our century's most distinguished artists. The library collection, which was developed by and for this very special community, reflects the school's distinguished heritage. Its holdings of rare and archival materials provide enormously rich resources for research and performance.34

APPENDIX

JUILLIARD EDITIONS

Berezowsky, Nicolai. Sinfonietta, Op. 17, for Orchestra. Boston: C. C. Birchard for theJuilliard Musical Foundation, c1934.

Britain, Radie. Heroic Poem. New York: Published for the Juilliard School of Music by the American Music Center, c1946.

Carter, Elliott. Suite from "Pocahontas," Ballet Legend in One Act. New York: Published for the Juilliard Foundation by Edwin F. Kalmus, c1941.

Diamond, David. Psalm for Large Orchestra. New York: Published for the Juilliard Foundation by Edwin F. Kalmus, c1938.

Elkus, Albert. Impressions from a Greek Tragedy: For Orchestra. New York: Published for theJuilliard Foundation by Edwin F. Kalmus, c1936.

Elwell, Herbert. Introduction and Allegro for Orchestra. New York: Published for the Juilliard School of Music by the American Music Center, c1944.

Giannini, Vittorio. String Quartet. Boston: Published for the Juilliard Musical Foundation by C. C. Birchard, c1931.

33. The development of Juilliard's archives was supported by a two-year grant (1990-92) from the National Historical Publications and Records Commission.

34. Archival and special-collection materials are available to scholars and performers on an appoint- ment basis. Bibliographic records for most of the archival collections are available in the OCLC data- base; finding aids are available upon request. The library is presently working on retrospective conver- sion of its holdings of rare printed editions and manuscript scores. Please contact the librarian for further information: Jane Gottlieb, Head Librarian, The Juilliard School, 60 Lincoln Center Plaza, New York, NY 10023-6588. Telephone: 212/799-5000, ext. 265; fax: 212/769-6421; E-mail: gottlieb@juilliard. edu.

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Gruenberg, Louis. Enchanted Isle: Symphonic Poem for Orchestra, Op. 11. Boston: Published for theJuilliard Musical Foundation by C. C. Birchard, c1930.

Gruenberg, Louis. Jack and the Beanstalk: A Fairy Opera for the Childlike in Three Acts and Thirteen Scenes. Vocal score. Book byJohn Erskine. Boston: C. C. Birchard, published for theJuilliard Musical Foundation, c1933.

Harmati, Sandor. Prelude to a Melodrama: For Orchestra. Boston: Published by C. C. Birchard for theJuilliard Musical Foundation, c1934.

Herrmann, Bernard. For the Fallen. New York: Published for the Juilliard School of Music by the American Music Center, c1946.

James, Philip. Suite for String Orchestra. New York: Published for the Juilliard Foundation by Edwin F. Kalmus, c1938.

Josten, Werner, Concerto Sacro I-IIfor String Orchestra and Piano. Boston: Published for the Juilliard Musical Foundation by C. C. Birchard, c1931.

Josten, Werner. Symphony in F New York: Published for the Juilliard Foundation by Edwin F. Kalmus, c1938.

Loeffler, Charles M. Evocation for Women's Voices (SSAA) and Modern Orchestra. Boston: Published by C. C. Birchard & Company for the Juilliard Musical Foundation, c1932.

Mason, Daniel Gregory. Chanticleer: Festival Overture for Orchestra, Op. 27. Boston: Published for theJuilliard Musical Foundation by C. C. Birchard, c1929.

Mason, Daniel Gregory. A Lincoln Symphony for Orchestra. New York: Published for theJuilliard School of Music by the American Music Center, c1944.

Morris, Harold. Concerto for Piano and Orchestra. Reduction for two pianos. Boston: Published by C. C. Birchard & Co. for the Juilliard Musical Founda- tion, c1932.

Persichetti, Vincent. Dance Overture for Orchestra. New York: Published for the Juilliard School of Music by the American Music Center, c1944.

Read, Gardner. Prelude and Toccata for Small Orchestra, Op. 43. New York: Published for theJuilliard Foundation by Edwin F. Kalmus, c1941.

Read, Gardner. Sketches of the City: Symphonic Suite for Large Orchestra, Op. 26, after Poems of Carl Sandburg. New York: Published for the Juilliard Foundation by Edwin F. Kalmus, c1938.

Rogers, Bernard. Once upon a Time: Five Fairy Tales for Small Orchestra. New York: Published for theJuilliard Foundation by Edwin F. Kalmus, c1936.

Rubinstein, Beryl. Concerto in Cfor Piano and Orchestra. Reduction for two pianos. New York: Published for the Juilliard Foundation by Edwin F. Kalmus, c1937.

Shepard, Arthur. Horizons: Four Western Pieces for Symphony Orchestra. Boston: Published by C. C. Birchard & Co. for the Juilliard Musical Foundation, c1929.

Talma, Louise. Toccata for Orchestra. New York: Published for the Juilliard School of Music by the American Music Center, c1947.

Van Vactor, David. Overture to a Comedy, No. 2. New York: Published for the Juilliard School of Music by the American Music Center, c1942.

Wagenaar, Bernard. Three Songs from the Chinese: For Soprano, Flute, Harp, and Piano. New York: Published for the Juilliard Foundation by Edwin F. Kalmus, c1937.

Ward, Robert. Symphony No. 1. New York: Published for the Juilliard School of Music by the American Music Center, c1942.

Whithorne, Emerson. Symphony No. 2, Op. 56. New York: Published for the Juilliard Foundation by Carl Fischer, Inc., c1940.

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the juilliard school library and its special collections

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