Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Program notes by Goddard Lieberson ([4] p. ; 31 cm.) laid in container. Performer(s): Camilla Williams, Inez Matthews, sopranos ; Avon Long, tenor ; Lawrence Winters, Warren Coleman, baritones ; supporting cast ; J. Rosamond Johnson Chorus ; orchestra ; Lehmen Engel, conductor. Production notes: Recording was begun on April 4, 1951 and completed on April 13.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
REEL 2 OF 2;PM 101-B;FULL TRACK;CONCERT VERSION;TIME, 15:22;
Local Numbers:
FW-ASCH-7RR-2425
General:
CDR copy--copy exists in DAMS
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
The papers of Washington, D.C. art historian, librarian, author, educator, and art consultant Marchal Landgren measure 15.3 linear feet and date from 1881 to circa 1982, with the bulk of the material dating from 1930 to 1975. Included are biographical materials, correspondence, writings and notes, professional and organization files, research projects' files, scattered personal business records, printed materials, two clippings scrapbooks, photographical materials, and scattered artwork.
Scope and Contents:
The papers of Washington, D.C. art historian, librarian, author, educator, and art consultant Marchal Landgren measure 15.3 linear feet and date from 1881 to circa 1982, with the bulk of the material dating from 1930 to 1975. Included are biographical materials, correspondence, writings and notes, professional and organization files, research projects' files, scattered personal business records, printed materials, two clippings scrapbooks, photographical materials, and scattered artwork.
Biographical material includes address cards, an appointment book, curriculum vitaes, genealogical materials, and military records. Correspondence is with artists, clients, colleagues, museums, and universities, and is predominantly professional in nature. Correspondents include Albert E. Gallatin, George Gershwin, Ira Glackens, Sidney Laufman, Elliot Orr, Candido Portinari, and Carl Sprinchorn, among others.
Writings include miscellaneous published and unpublished writings and drafts by Marchal Landgren primarily those not associated with his major research projects. These include various articles written for magazines and journals, manuscript drafts, research notes, and notebooks. There is also a file of writings by others that includes the John Mitchell Gallery Notes.
Professional and organizational files document Landgren's positions and work for educational institutions and arts organizations, including the American Abstract Artists Group, Art Students League of New York, Association of Artists Equity of Washington D. C., Contemporary Arts, D. C. Public Library, Library Journal, New York City Municipal Art Committee, Old Print Shop, Inc., and the University of Maryland, among others. These files also contain correspondence, perhaps the most notable found in the file on the American Abstract Artists Group which includes letters from Josef Albers, Eleanor de Laittre, Sidney Geist, Balcomb Greene, Hananiah Harari, and Harry Holtzman.
Well over one-half of the collection consists of files for Landgren's ongoing research projects on numerous artists and photographers, Latin American art, as well as his bibliographic reference projects. The bulk of the files cover his research, writing, and curatorial work on Robert Loftin Newman. Files are also found for Berenice Abbott, Milton Avery, George Constant, George Collins Cox, Aline Fruhauf, Eugene Higgins, William Morris Hunt, John Kane, Charles Logasa, Elliot Orr, and Albert Pinkham Ryder, among many others.
Personal business records include personal and general expense documentation and scattered exhibition price lists. Printed materials include clippings, exhibition catalogs, and miscellaneous published articles and essays. There are two scrapbooks of clippings.
There are photographs, slides, and negatives of images of Landgren, other artists and notable figures in the art world, and of artwork. Of note is a portrait photograph of Juliana Force by Cecil Beaton, one photograph by Berenice Abbott, "Barclay Street Ferry", and 14 taken by George C. Cox of Rudyard Kipling, Clyde Fitch, Augustus Saint-Gaudens, Madame Fanny Janauschek, Donald G. Mitchell, and others.
The papers also include scattered artwork, including holiday cards illustrated by artists, and sketches and drawings by other artists.
Arrangement:
This collection is arranged as 10 series.
Missing Title
Series 1: Biographical Materials, circa 1890-circa 1981 (0.2 linear feet; Box 1)
Series 2: Correspondence, circa 1930-circa 1982 (0.6 linear feet; Box 1)
Series 3: Writings and Notes, circa 1932-circa 1982 (1.2 linear feet; Boxes 1-3)
Series 4: Professional and Organizational Files, circa 1910-circa 1977 (3.4 linear feet; Boxes 3-6)
Series 5: Research Projects' Files, 1881-circa 1982 (6.9 linear feet; Boxes 6-13, 15)
Series 6: Personal Business Records, circa 1934-circa 1982 (0.4 linear feet; Box 13)
Series 7: Printed Material, circa 1927-circa 1981 (1.0 linear feet; Boxes 13-14)
Series 8: Scrapbooks, circa 1931-circa 1979 (0.2 linear feet; Boxes 14-15)
Series 9: Photographic Materials, circa 1930s-circa 1978 (0.2 linear feet; Boxes 14-15)
Series 10: Artwork, circa 1930s-circa 1940s (0.2 linear feet; Boxes 14-15)
Biographical / Historical:
Marchal E. Landgren (1907-1983) was an art historian, librarian, educator, author, and art consultant, active in New York and Washington, D. C.
As associate director and board member of Contemporary Arts, Inc. in New York, Landgren established a program for providing artists with their first solo exhibition in New York, including those of John Kane and Mark Tobey. In 1932, he directed the exhibition schedule at the New School for Social Research; and in 1935, Landgren served as the director of art activities for the New York City Municipal Art Committee where he facilitated many exhibitions over the course of five years, including Recent Paintings by Boris Aronson at Babcock Galleries in 1938.
Working as a freelance art consultant, researcher, and author, Landgren organized numerous exhibitions between 1932 and 1950 of the work of Milton Avery, George C. Cox, Elliot Orr, Robert Loftin Newman, and Albert Pinkham Ryder. He also edited several arts publications, including the Old Print Shop Portfolio, John Mitchell Gallery Notes, and arts manuscripts for Oxford University Press.
In 1939, Landgren was selected by the New York World's Fair Commision to prepare historical notes on Latin American art for the exhibition catalogs of the Latin American art exhibition. After the Fair, he continued his research on this topic and wrote several articles, as well as lecturing on Latin American painting at the Art Students League of New York, the Newark Art Club, and the National Education Association at the Boston Museum.
After serving in the U. S. Army Air Force during World War II, Landgren moved to Washington, D. C. in 1950 and began work as the arts division readers' advisor for the D. C. Public Library. For seventeen years, he built up the library's general collection of art books and created extensive files of art exhibition catalogs.
In 1967, he took a position as a bibliographic consultant for the fine arts department at the University of Maryland. He became director of the University's art gallery and of the art department museum training program. During his tenure at the University of Maryland, Landgren conducted graduate seminars in art history, edited and published exhibition catalogs, and organized exhibitions, including The Late Landscapes of William Morris Hunt in 1976.
Landgren was a visiting scholar at the Smithsonian Institution's National Collection of Fine Arts and curated an exhibition of paintings by Robert Loftin Newman held there from 1973 to 1974 and at the Tennessee Fine Arts Center in 1974.
Marchal Landgren authored two books: Years of Art: The Story of the Art Students League of New York (Robert M. McBride and Company, 1940), and Robert Loftin Newman (Smithsonian Institution Press, 1974). He was a regular reviewer of art books for the Library Journal from 1958 to 1972, and contributed reviews to Trend, Magazine of Art, and other journals. He was awarded a research grant by the American Council of Learned Societies in 1963 for his study of George C. Cox and did a great deal of research in American art and American art institutions for an unfinished manuscript. He also worked on a bibliography of art literature which he never completed.
Provenance:
The Marchal Landgren papers were donated by Landgren in 1974, and by the Landgren estate via David Huddle in 1983.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Contains photographic reproductions of George Gershwin's hands on piano keys, Gershwin seated with music manuscript, and a baby grand piano in a living room.
Arrangement:
In Series ?, Box OS 441, Folder 1929.
Local Numbers:
AC0059-0000048m (AC Scan)
Collection Restrictions:
The collection is open for research use.
Physical Access: Researchers must use microfilm copy. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Technical Access: Viewing the film portion of the collection without reference copies requires special appointment, please inquire; listening to audio discs requires special arrangement. Do not use original materials when available on reference video or audio tapes.
Collection Rights:
Publication and production quality duplication is restricted due to complex copyright, publicity rights, and right to privacy issues. Potential users must receive written permission from appropriate rights holders prior to obtaining high quality copies. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The Joy McLean Bosfield papers, which dates from 1923 to 1995 and measures 3.41 linear feet, documents the professional life of Joy McLean Bosfield. The papers are comprised of personal and professional correspondence, concert programs, contracts, newspaper clippings, photographs, radio scripts, and record albums.
Scope and Contents note:
The collection which dates from 1923 to 1995, bulk dates 1945-1985, documents the professional career of Joy McLean Bosfield. The papers document Ms. McLean's professional career as a singer and vocal teacher through photographs and recital programs. In particular, there are two scrapbooks which focus on Ms. McLean's employment with a traveling theater production of Porgy and Bess. There are also radio scripts from Ms. McLean's stint with the British Broadcasting Corporation and phonograph records that captured her vocal talent.
Arrangement note:
The papers are arranged into five series. Folders are arranged alphabetically within series, while documents are organized chronologically. Undated material appears in the front of folders. Oversized material appears in the Career Series.
Series 1: Biographical Files
Series 2: Career
Series 3: Correspondence
Series 4: Music Collection
Series 5: Photographs
Biographical/Historical note:
Joy McLean Bosfield was born on January 27, 1924 to John and Florence Mearimore. Her mother, an immigrant from Demerara, Guiana, married McLean's father, a prominent New York businessman, in March of 1923 in New Jersey. She lived with her family in Paramus, New Jersey until 1940, when she graduated from Ridgewood High School. During that same year McLean was accepted to the prestigious Hunter College, in New York. Her mother moved with her to New York City where they lived with Mrs. Mearimore's older brother. During her time in New York, McLean developed important relationships that helped shape her professionalism and creativeness.
On February 26, 1945, McLean performed in her first recital at St. Martin's Little Theatre. It was the beginning of a long and distinguished career as a soprano opera singer. Three years after graduating and making her debut, she went on to perform at Carnegie Hall. In June of 1948, McLean married Charles McLean and moved to England. Mr. McLean, originally from British Guiana, wished to study law at London University, while Ms. McLean continued to develop her career by working for the BBC (British Broadcasting Corporation) as a solo soprano for several of their programs.
In 1952 Ms. McLean toured with an American company of Porgy and Bess. Through the production she travelled all over the world including eastern and western Europe and the Middle East. When she returned to the United States, McLean joined several musicals and continued to give recitals and public appearances. At some point, McLean married Samuel Bosfield and began being known as McLean Bosfield. She claimed the name change reflected her many years as a public figure and the importance of the associated reputation it generated.
Later in life, McLean moved to Washington D.C. with her husband where she continued to work on her career by giving recitals and performing as a piano accompanist. She also began working for the Frederick Wilkerson Studio of Voice as a vocal coach. After the death of Wilkerson, McLean took over the studio in the 1980s. She called it the McLean Bosfield Vocal Studio. Besides vocal training she also produced public recitals for her students. The final student concert of the studio was held on March 17, 1985. It was not only the final concert for the studio (Ms. McLean retired and closed the studio in 1985) but it would also be Ms. McLean's final public performance. With the death of her husband, Samuel Bosfield, and her mother in 1983 and 1984 McLean found no reason to stay in D.C.
She moved to Chapala, Mexico in 1985 after reconnecting with an old family friend she knew when she lived in New York City while attending college. Upon moving to Mexico, McLean married her long time friend, Bill Jackson who was several years her senior and had moved to Chapala years earlier with his deceased first wife. Jackson and McLean spent several fruitful years together, participating in community theater productions and other community functions until his death in 1991 at the age of 91. On April 4, 1999, Joy McLean Bosfield died.
Provenance:
The Joy McLean papers were donated to the Anacostia Community Museum in September 1985.
Restrictions:
The collection is open for unrestricted research. Use requires an appointment.
Rights:
The Joy McLean papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Embraceable you is contained in four folders consisting of 1 two page short score and 11 parts in F Major concert, 1 two page piano conductor score and 1 part in Eb Major concert, 1 two page piano conductor score in C Major concert, and 11 parts in D Major concert -- in ink and pencil -- in unidentified hands (DE, BS, Whaley?).
Folder A contains 1 part in Eb Major for 1 reed - alto 1.
Folder B contains short score in F Major. Score indicates parts for clarinet, Sears, bass clarinet, Cat, Scad, Taft, Francis, Tricky.
Folder C contains piano conductor scores and parts in D & F Major. Scores do not indicate instrumentation. Parts in D Major for 5 reeds - alto 1, alto 3, tenor 2, tenor 4, baritone; 3 trumpets - 1, 2, 3; 1 trombone - 2; bass; guitar. Parts in F Major for 3 reeds - Jimmy (2), Sears, Carney; 4 trumpets - Francis, Scad, Taft, Cat; 1 trombone - Brown; guitar. Parts appear to reflect different arrangements of the piece.
Folder D contains 1 part in F Major for 1 trombone - Tricky. -- from the Duke Ellington Library.
Biographical / Historical:
Statement of responsibility taken from Popular Music, 1920-1979, ed. Nat Shapiro. There appear to be numbers from the Duke Ellington Band Book: 320, 313.
General:
A piano conductor score for "Lover man" is noted on the verso of the piano conductor score in Eb Major in Folder C. Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair, torn, brittle.
Unsigned Strayhorn composition.
Other Title:
Embrace.
Embraceable.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Copy scores
Holographs
Manuscripts
Music
Parts (musical)
Piano conductor scores
Short scores
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
I got rhythm is contained in one folder consisting of 13 parts in Bb Major concert -- in ink -- in unidentified hand (Whaley?).
Parts for 6 reeds - Rab, Procope, Jimmy, Ben, Sears, Carney; 1 trumpet - Baker; 3 trombones - Brown, Tyree, Butter; drums; bass; guitar. -- from the Duke Ellington Library.
Biographical / Historical:
Statement of responsibility taken from Popular Music, 1920-1979, ed. Nat Shapiro. There appears to be a number from the Duke Ellington Band Book: 295.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair, tape.
Unsigned Strayhorn composition.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Copy scores
Manuscripts
Music
Parts (musical)
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
Jazz prelude #2 is contained in one folder consisting of 2 parts in c# minor concert -- in ink -- in unidentified hand.
Parts for bass; guitar. -- from the Duke Ellington Library.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: worn.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Copy scores
Manuscripts
Music
Parts (musical)
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
The man I love is contained in five folders consisting of 1 one page piano conductor score, 1 four page piano vocal score, and 11 published parts in Eb Major concert, 1 twelve page conductor socre and 12 parts in F Major concert, and 1 four page piano vocal score, 2 lead sheets and 18 parts in C Major concert -- in ink, pencil and photocopy -- in unidentified hands (Whaley, Banks?).
Folder A contains piano conductor score and parts in Eb Major. Piano conductor score does not indicate instrumentation and appears incomplete. Parts for 5 reeds - flute, clarinet, alto 1, alto 3, tenor 2; trombone; 2 violins - 1 (2), 2; viola; bass.
Folder B contains parts in F Major for 5 reeds - Rabbit, Nat, Jimmy, Skippy, Carney; 4 trumpets - Ray, Taft, Wallace, Baker; 2 trombones - Tizol, Tricky; bass.
Folder C contains piano vocal scores, lead sheets and a part. Piano vocal score lyrics begin "When the mellow moon begins to beam ...". Lead sheets for voice. Lyrics begin "Alone, alone with a sky of romance above ...". Part in C Major for piano.
Folder D contains parts in C Major for 5 reeds - alto 1, alto 2, tenor 1, tenor 2, baritone; 5 trumpets - 1, 2, 3, 4, 5; 4 trombones - 1, 2, 3, 4; bass; drums; piano.
Folder E contains twelve page conductor score in F Major. Conductor score indicates parts for clarinet, baritone, trumpets. Score appears incomplete. -- from the Duke Ellington Library.
General:
Lead sheets in Folder C (photocopies) are originally noted on the verso of "Taking a chance on love." Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair, torn, tape.
Other Title:
The man I love.
Publication:
New York, NY, New World Music Corporation, 1945
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Conductor scores
Copy scores
Lead sheet
Manuscripts
Music
Parts (musical)
Photocopies
Piano conductor scores
Piano vocal scores
Published sheet music
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
My man's gone now is contained in one folder consisting of 1 four page piano conductor score and 14 parts in g minor concert -- in ink -- in identified hand (Howe).
Piano conductor score indicates parts for alto, clarinet, tenor, violin, trumpets, trombones. Parts for 5 reeds - Smith, Procope, Gonsalves, tenor 2, baritone; violin; 3 trumpets - Baker, 2, 3; 3 trombones - Woodman, Tizol, Jackson; bass; drums. -- from the Duke Ellington Library.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair, brittle.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Copy scores
Copy scores
Manuscripts
Music
Parts (musical)
Piano conductor scores
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
Rhapsody in blue is contained in four folders consisting of 1 published twenty eight page piano conductor score, 1 published part and 15 parts in Bb Major concert, and 13 parts in Ab Major concert -- in ink and pencil -- in unidentified hands (Whaley, Tizol, other?).
Folder A contains parts in Bb Major for 3 reeds - alto 1, alto 2, tenor; trombone; banjo.
Folder B contains parts in Bb Major for 4 reeds - Otto, Jonny, Barney, Carney; 2 trumpets - 1, 3; 2 trombones - 1, 3; bass; banjo.
Folder C contains published items. Piano conductor score indicates parts for flute, oboe, clarinet, sax, bassoon, horn, trumpets, violins, strings. Part for horn.
Folder D contains parts in Ab Major for 5 reeds - alto 1, alto 3, tenor 2, tenor 4, baritone; 4 trumpets - Cat, Cootie, Roy, Ray; 3 trombones - 1, 2, 3; bass. -- from the Duke Ellington Library.
Biographical / Historical:
There appears to be a number from the Duke Ellington Band Book: 179.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair, torn, tape, brittle, stained.
Other Title:
Rapsody in blue.
Rhap in blue.
Publication:
New York, NY, Harms, Inc., 1924
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Copy scores
Manuscripts
Music
Parts (musical)
Piano conductor scores
Published sheet music
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
Somebody loves me is contained in two folders consisting of 4 parts in F Major concert, and 1 nineteen page conductor score, 1 five page conductor score, 1 six page conductor score, 1 four page piano conductor score and 18 parts in Ab Major concert -- in ink and pencil -- in unidentified hands (BS, Whaley?).
Folder A contains items in 3 groupings -- (i) Parts in F Major for 1 reed - Hamilton; 2 trumpets - Taft, Baker; 1 trombone - Tricky. -- (ii) Parts in Ab Major for 1 reed - alto; bass; guitar; piano. -- (iii) Four page piano conductor score and parts in Ab Major. Piano conductor score indicates parts for alto, tenor, baritone, trumpets, trombone, drums, piano. Parts for 3 reeds - alto, tenor, baritone; 2 trumpets - 1 (2), 2; trombone; bass (2); drums; piano.
Folder B contains conductor scores and parts in Ab Major. Nineteen page conductor score does not indicate instrumentation and appears incomplete. Five page conductor score indicates parts for alto, baritone, trumpet, trombone, bass. Six page conductor score indicates parts for alto, tenor, baritone, trumpet, trombone, bass. Parts for 1 reed - alto; trumpet; trombone. Parts are noted on the verso of the six page conductor score. -- from the Duke Ellington Library.
Biographical / Historical:
Statement of responsibility taken from Popular Music, 1920-1979, ed. Nat Shapiro. There appears to be a number from the Duke Ellington Band Book: 16.
General:
Parts for "Always you" are noted on the verso of parts in Folder A, grouping i. A part for an untitled work is noted on the verso of the piano conductor score in Folder A, grouping iii. Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair, torn, worn, tape.
Unsigned Strayhorn composition.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Conductor scores
Copy scores
Holographs
Manuscripts
Music
Parts (musical)
Piano conductor scores
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
