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�A MEMORY
OF HOWARD
BARLOW
8Y
J)iEB£L
WEA.JDl=L..
In the spring of 1938, my third year of piano study with Madam
Olga Samaroff, I got the urge to write a short composition for
piano and orchestra.
I seemed to have had a pent-up store of
ideas, and within a short time, the bulk of the piece was sketched
out.
I told Oscar Wagner, Dean of the Juilliard
of my project and played some of it for him.
very positive
Graduate School,
His reaction was
and he suggested that I contact Mr. Howard Barlow,
conductor of the CBSSymphonyabout submitting the score in hopes
that it might be considered for broadcast on one of the programs
of the "Everybody's Music" series.
The score was incomplete, the Coda yet to be written and orchestrated,
but the incomplete work was submitted.
In a few days I
received a call from Mr. Barlow asking if I could complete it in a
few weeks and bring it to him for proofing the orchestration.
course I could!
A date was set and on the specifiec
up at his office at the CBSstudios,
cordial,
sat,wn
time I showed
manuscript in hand.
he gave me the reason for the change, why it
would strengthen the texture and compliment the solo part.
by far the best orchestration
in the original
fan-mail received after
lesson I ever had.
score.
(His changes are in
It is enclosed along with some of the
The corrected score was taken to the
Dean's office for the extraction
on my part ensued in preparation
August 21, 1938.
It was
the broadcast and a program of a subsequent
performance of the work.)
Juilliard
He was most
with me at his desk and proceeded to suggest changes.
With each suggestion,
'red',
Of
of parts,
and much practicing
for the broadcast scheduled for
�2
The dress rehearsal
cast.
was scheduled on the day prior to bhe broad-
I seated myself at the piano, and listened
to the orchestra
play the opening bars -- Mr. Barlow turned to me with the cue for my
entrance •...• ! just sat there in utter
had heard from the orchestra.
Mr. Barlow said:
is anything wrong?" I replied,
sound, it's
unbelievable
it would be."
astonishment at the sounds I
-- so far more beautiful
than I ever imagined
He smiled, knowingly, turned to the orchestra
went like clock work.....
your cue,
"I'm sorry, but I'm so amazed at the
"From the beginning again, please."
and said,
The remaining time of the rehearsal
only the once through and we were ready for the
broadcast the next day -- Sunday afternoon.
pianist
"Wendel, that's
Incidently,
the staff
turned pages for me, and got paid union scale ...•. I received
no remuneration.
As a result
1.
of this experience and performance, two things happened.
I was awarded a full fellowship in composition at the Juilliard
Graduate School and following month with Bernard Wagenaar, and
2.
The following spring,
the Juilliard
the Concert Piece was programed on one of
Symphony's programs under the direction
of Albert Stoessel.
What I remember most about Mr. Barlow was his kindness of manner,
unpretentiousness
and generosity.
I recall
me that Mr. Barlow had once remarked to him:
greatest
conductor, but I'm certainly
Dean Wagner's telling
"I may not be the
expensive!"
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158 Brushy Hill
Road
Danbury,
Ct. 06810
203/797-4014
(Library)
203/790-8677
(Home)
September
11,
1992
Professor
Wendel Diebel:
1314 West Mountain
Fort Collins,
CO 80521
I was so very pleased
to reach
you this
week and look forward
to hearing
from you as to recollections
of your work with
Howard Barlow.
Enclosed
is a copy of an article
I wrote this
Spring
and which was published
in the Plain
City
(Ohio)
Advocate
at about the time of the centennial
of his birth.
Hope you enjoy
it.
I'm also enclosing
a Xerox of the photo I
mentioned
along with the still
intact
Press
Release.
Should
you wish,
I can have a glossy
made for you.
I have been a college
teacher
(taught
chemistry
for fifteen
years),
college
administrator
(academic
dean at two
colleges),
and librarian.
It is in my latest
career
that
I
accidentally
came across
material
and memorabilia
of Howard
Barlow at Bethel
(Ct.)
Public
Library.
Mr. Barlow and his
wife Jeanette,
after
Voice of Firestone,
retired
to Bethel.
He died there
in 1972.
Because
he had spent
much time in the
Bethel
Library,
his widow gave the Library
many of his
materials
when she left
to return
to Portland,
Oregon
(her
hometown).
She died there
in 1977. They had no children
and
there
is only one living
relative
of Mr.
Barlow,
a nephew in
Texas,
Roger Plummer.
Mr. Plummer has been most helpful
and
supportive
of my research.
Because
Bethel
Library
had no room for these
materials,
I
arranged
to have them transferred
on permanent
loan to the
Library
of our University.
In addition
to these
materials,
I have pursued
research
at the many libraries
including
Broadcast
Pioneers
Library
in Washington
as well as Peabody
Institute
Archives
in Baltimore
(Barlow conducted
the
Baltimore
Symphony for two years
in the early
1940s).
This
past
June I went to Plain
City,
Ohio and environs
to study
the Barlow family's
roots.
Through
a series
of fortunate
circumstances
I found that
Barlow's
greatgrandfather
migrated
to Ohio from Connecticut.
In fact,
that
line
of the Barlows
came to Connecticut
in the 1630s from England.
Barlow
probably
never
knew that
his last
days were spent
some twenty
miles
from where the Barlows
had started
it all--the
town of
Fairfield,
Connecticut
�..
As you probably
know, Mr. Barlow was a very private
person
and not much of a letter
writer.
Fortunately
he has an
extensive
oral
history
interview
(a copy of which I have)
in
the Columbia
University
Archives
of the Radio Pioneers.
Besides
the research
noted
above,
I have gathered
some
information
from some who I've
been able to contact.
For
example,
I have spoken with
(among others)
Mitch Miller
who
was a protege
of Howard Barlow,
being
the oboist
for years
in
the CBS orchestra,
and Morton Gould,
whose music Barlow often
conducted.
This research
has been going on some three
years
when I can find the time to pursue
it.
Sometimes
I spot
something
that
suggests
a possible
new lead.
It was a stroke
of luck that
I did find you.
Please
do inform
me of the timetable
of your trip
to this
area.
Would enjoy
very much the opportunity
to show you the
area.
In fact,
I think
you know that
Danbury was the
hometown of Charles
Ives.
The Ives home is in the final
stages
of being
readied
to be shown to the public.
Can't
say it will
be ready
by the time you come to the area,
but few citizens
have achieved
his fame (at least
in music
and the insurance
business
combined}.
Again,
I look forward
to hearing
from you about your
recollections
of Howard Barlow and your work with him at CBS.
Would like
to have as much detail
as possible
because
I find
this
particular
episode
unique
in American
music -- a famed
conductor
(and there
was no doubt that
at that
time
he was very famous}
offering
to conduct
music from "unknown"
composers
over national
broadcasts.
Thanks again
so very
much.
Sincerely,
James Pegolotti
Librarian
�/
158 Brushy
Hill
Road
Danbury,
Ct. 06810
203/797-4014
(Library)
203/790-8677
(Home)
January
23,
1993
Professor
Wendel Diebel:
1314 West Mountain
Fort Collins,
CO 80521
Dear
Professor
Diebel,
I am a bit
late
in writing
this,
but I was awaiting
response
from
Howard Tuvelle,
head of our Music Department,
to whom I had given
your score
and Debussy prelude
recording.
Howard is a very fine
pianist
who grew-up
in Cincinnati
and had, among others,
Robert
Goldsand
as a teacher.
He listened
to all the Debussy preludes
and
indicated
to me (and I agree)
that
the recording
was "an
impressive
achievement".
He thought
the actual
recording
was
extremely
well engineered.
He has promised
to play through
the
piano
portion
of your composition
and indicated
to me that
he
found the composition
an effective
one, one that
had balanced
modern concepts
with traditional
ones.
Again,
I thank you for
sending
the materials
you did.
I made copies
of the letters
and
cards
for the files.
At this
time I have decided
to begin the longer
journal
article
on
Mr. Barlow that
has been in my plans.
I seem to have come to an
end in finding
individuals
who have some personal
insight
into
him
and are willing
to share
that
insight
with me. In my research
(which has had to rely
on many peoples
recollections)
I have found
that
one never
knows who will
be the available
or interested
individual
to share
thoughts.
I have letters
out to many people
(such as Oscar Shumsky,
the violinist
who was the concertmaster
with Voice of Firestone
orchestra,
and Eileen
Farrell,
who was
actually
discovered
by Barlow)
and no response.
In the case of
Farrell
I have sent four different
letters
through
different
means.
I think
the message
is clear.
She is not interested
in
sharing.
On the other
hand,
such people
as Mitch Miller,
Morton
Gould and Rise Stevens
have been most generous
with their
time.
My
contact
with you has provided
an unusual
insight
into Mr. Barlow's
work with young composers.
I am hopeful
that
you are having
a good winter.
family
continue
in good health.
Please
contact
planning
a trip
east
again.
I'll
keep in touch
turning.
Thank you again.
Sincerely,
May you and your
me should
you be
as the world keeps
�1314 West Mountain Ave.
Fort Collins, CO 80521
8 February
1993
Dear Mr. Pegolotti,
Thank you for the return of the 'fan mail,' cards and letters.
They certainly brought back fond memories!
Howsmall the world is! And how amazing that so many paths cross
and recross in one's life!
Robert Goldsand was a fellow teacher at
the 'Ralph Wolfe Conservatory' in NewRochelle many years ago. A
very fine teacher as I recall.
I also remember well Risa Stevens,
a classmate in the 30~s •... certainly one of the MOSTserious students
in the school.
A possible lead for more people that knew and worked with Mr. Barlow
would be the old rosters of the CBSSymphonymembers. I know for a
fact that it was like 'old home week', when I went to the first
rehearsal .... so many members of the orchestra were class mates at
Juilliard:
Bernie Greenhouse, cello; Ruth Freeman, Flute; Eojs Wan,
oboe (I believe), and t~e list went on and on. Perhaps too, you
could get a list of Juilliard Alumni for the years, 1967 to 1939,
and contaet : those that match up. ( I do doubt that many of them are
still with us). The entire Graduste School was limited to 200
students in all categories.
If I can be of any assistance, do let me
know. I still havedsome connections with the school and could help
by writing a letter of introduction or some such thing if necessary.
Mrs. Diebels' ailment has been temporarily diagnosed, so the Doctors
are going into consultation as to treatment •••• it's one of those
medical terms that is endless and impossible to pronounce!. This
week should hold an answer.
I'm ve~y pleased that Mr. Tuvelle was pleased with the record&mgs.
I'm still looking for the recording of the Concertpiece .... it could
have been put in a sleeve of another record for safe keeping, so
finding it in this house is almost a hopeless task!
My best wishes to you and I look forward to meeting you someds~y in
the near future.
Sincerely,
C Jt-, /'
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�158 Brushy
Hill
Road
Danbury,
Ct. 06810
203/797-4014
(Library)
203/790-8677
(Home)
March
6,
1993
Professor
Wendel Diebel:
1314 West Mountain
Fort Collins,
CO 80521
Dear
Professor
Diebel,
Thank you for your letter
of February
with you and that
your wife's
treatment
8.
I hope life
proceeding
is
proceeds
well.
well
Your thoughts
for further
contact
of Julliard
alumni may prove of
value.
I simply
haven't
had the time to proceed
further.
I did get
down to Yale to get copies
of some letters
that
were in the Henry
Gilbert
papers.
One was most interesting
being
from a 19-year
old
Lou Harrison
who was thrilled
to have heard a segment
from Ives'
Fourth
Symphony,
the first
time it was ever played
on radio.
I mentioned
Robert
Goldsand
in the last
letter
and you had
recollections
of him also.
I failed
to mention
that
he and his wife
(they
had no children)
were Danbury residents
for decades.
His wife
survives
him and comes to many of the local
musical
events.
A most
gracious
native
of Vienna.
What I have accomplished
in the past
few weeks is placing
the
materials
I have gathered
on Mr. Barlow into
a new filing
system
(actually
it is the first
appropriate
one I've
had).
Quite
amazed at
what has been gathered
over the years.
As a librarian
who very often
provides
leads
for students
in their
research,
I have come to
appreciate
the fact
that
so much research
is word of mouth.
Example:
a musicologist
who lives
in Danbury told me once that
he recalls
meeting
a woman who had been a secretary
to Barlow some years
ago and
who, he thought,
had opened a music store
in New Haven. Well,
some
sleuthing
and phone calls
led me to Marcia
Stevens,
co-owner
of
Foundry
Music (the only store
in New Haven selling
scores,
etc.).
She
had indeed
been secretary
to Barlow for two years
at NBC during
the
"Voice
of Firestone".
How she had met him is most interesting.
He had
conducted
the Chicago
Symphony at Ravinia
in 1942 and she was an
assistant
to the producer
there.
She had to shepherd . him around
when
he arrived
and he told
her that
should
she ever be in New York, look
him up and he would see if work could be arranged.
Her husband,
then
in the Navy, was transferred
to NYC and the rest
is how she came to be
the secretary!
I do hope we can meet in the
you informed
of my work. All
and interest.
near future
and I will
attempt
the best and thanks
again
for
to keep
your help
��REPROLITGMBH, INC.
·17r<J
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919 ~orth Miqiiga,
~-(p?~~!f,
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�158 Brushy
Hill
road
Danbury,
Ct. 06810
203/797-4014
(Library)
203/790-8677
(Home)
August
Dear
22,
1993
Professor
Diebel,
I hope the summer has proven
a good one for you and your
family.
The weather
has been most emphatic
in its
amplitudes
this
year--severe
rain
and severe
droughts.
We finally
have
had some rain
here in Connecticut,
but it was the driest
July
in weather
bureau
history.
I thought
you would enjoy
a copy of an article
which I have
written
about
Howard Barlow and Arthur
Judson.
Because
they
were both Ohio natives,
I focused
on that
issue
and have
submitted
the article
to TIMELINE, the magazine
of the Ohio
Historical
Society.
They are currently
considering
it for
publication.
Just
last
Monday, I finally
had the opportunity
to meet with Judson's
only grandson,
named Arthur
Judson,
II.
He is a vice-president
with Fidelity
Bank in Philadelphia
and
a most kind and gentle
person
who recalls
his grandfather
with much affection.
Judson's
only son (AJ II's
father)
is
still
alive
at 88 years
of age.
The gathering
of further
information
about Barlow goes on
though
at a slackening
pace.
I am starting
a lengthier
article
on Barlow himself,
but still
haven't
found the theme
that
will
make it hang together
best and make it more
interesting
for me to write.
I enjoyed
the challenge
of
intertwining
Judson
and Barlow's
life.
I did not take a vacation
hope to get to California
the year is out.
Are you
Again,
I am happy
should
the article
me know.
( 11 good wishes
~Q)~
Ji ,,,~ Pegolotti
away from the area this
year,
to see my brother
and family
planning
any eastern
trips?
for the opportunity
stir
any further
from
to keep
memories,
in contact
please
to
but
before
and
let
�1314 West Mountain Avenue
Fort Collins,
Co. 80521
September
1, 1993
Dear Mr. Pegolotti,
First
of all I want to thank you for your
kind note of sympathy.
It helped a good
in that this past week was a 'downer'
for
This week has been far better
and I seem
gaining more interest
in the daily chores
projects.
Again, thank you.
Then I also want to thank you for the
article
on Mr. Barlow and Mr. Judson.
indeed.
Your writing
is most readable
That, I like!
most
deal
me.
to be
and
fascinating
Excellent
and fluent.
I gather that the mezzo-sobrano
you mention in the
second paragraph
- (or avoid naming) - turns up on
page 5.
'Sophie Breaslau'.
Am I correct?
I do wish to thank you for including
my name as
we~l.
It was certainly
a red-letter
experience
for me as a young in experienced
and asp i ring ·: - · · student.
When I reflect
on those student
days in
New York, I am completely
awed at my utter
lack
of awareness of the people I met and got to know.
... their
greatness
and generosity
and willingness
to share.
I just thought of them as enjoyable
people.
We certainly
live in another world today!
I would like to send a copy of it to a friend
in
Louisville,
Ky. He is a writer
and has just completed a biography
on my major t·ano teacher,
Mme Olga Samaroff-Stokowski,
ne ucie Hickenluper.
He's looking for a publisher,
w ich seems to be
very difficult
these days.
I met him a number of
years ago in Austin,
Texas where my son was attending seminary.
I was able to give him some information concerning
Samaroff,
and help him write
his Doctoral
dissertation,
after
which he went to
@Ork on the book.
His name is Jeoffrey
McGillen,
and his wife is Mary.
She is the new Librarian
for the Louisville
Symphony.
C..,_,t,
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�I know they
and perhaps
interest
to
that it is
both will enjoy your
he has some material
you and visa-versa.
a ~ery small world we
article
very much
that might be of
I've discovered
live in!
You asked about my next trip to New York.
I plan
f ~ visit my son and his family over Christmas vacation .... actually
from the 15th of December to the
12th of January .... so certainly
somewhere during
that period I should be able to drive down to your
residence
for a visit.
I will look forward to it!
I do ha~e plans to spend three days in N.Y.City
during the week between Xmas and New Years.
My
publisher
and his wife have a brownstone
on West
69th Street,
just three blocks from Lincolh center.
Delightful
people!
e ongratulations
again on the article
and I wish
you all the good fortune
in the world in discovering the theme for ~ - I might mention that your
article
make me so very aware of the music world
in the 20's,
30's,
and 40's,
which was so terribly
productive
both in serious
music and in popular
music.
They both, were the product of the "Golden
Years" : of music in the U.S!
How wonderful
to have
grown up in them!
Ever sincerely,
and with
publication
and for your
good fortune
in your
future
article.
\
�•
e piano
Retired CSU professor has been a key player in lives of many students
performed in such places as
New York's Carnegie Hall.
Even after the accomplishWendel Diebel moved to
ments, he still places his stuFort Collins in 1948 to teach
dents on a pedestal.
piano to Colorado State Uni"The high point of my caversity students. Now, 46
reer is seeing and witnessing
years and countless lessons
the success of my students
later, his students are thrownot only in music, but also in
ing him a party.
other fields," he said.
An 80th birthday party/reDiebel's musical education
cital honoring the life and
began in Des Moines, Iowa,
teachings of Diebel will be
when he started playing
given Sunday at the CSU
piano as a 3-year-old.
Music Building concert hall.
Several current and former
Eventually, after graduatstudents will perform a variing from Drake University,
ety of works during the celhe was awarded a fellowship
ebration.
to the Juilliard Graduate
School of Music, where he re"Usually with something
like this they wait for the old: c'eived diplomas in both piano
man to die, ·l'.>"u\
I think it is 1 and composition.
much more fun for the persotj.
"I decided to get out of
being honored this way,"
New York because it was
Diebel said.
· changing so rapidly and just
wasn't fun to live there any
Throughout his career,
more," Diebel said.
Diebel has done more than
teach. He has written more
Once in Colorado, he took
than 25 compositions, reover as head of the piano dileased two recordings and
vision at CSU, where he
By GUY MURPHY
The Coloradoan
I
-Interested?
A recital
.t)onori9gWen-
der· Diebel on his 80th
birthdaywill'take place at 3 ·
p.m. Sunday ih the My_slc
Buit(ilngconcerthall at Col
ors.doStateUnhtersity.
Admission is free an
open-10-the -public.
I
-I
taught piano and other musical academics until he retired
as professor emeritus in
1974.
Since then, Diebel has continued to teach piano in his
home and occasionally at th~
university using a technique
he has always believed in.
"I teach the individual to ,
do what I believe the individual is capable of doing,"
Diebel said.
This education has instilled
a great respect for Diebel and
his philosophy in his former
students.
"Wendel is a very warm,
kind person, but if you go to
him for a lesson he'll let you
know what you're doing
wrong," said Mark Sloniker,
38, a former student who will
be performing Sunday.
When not teaching, writing
or performing music, Diebel
keeps busy with his other
loves: carpentry and gardening. He has completely remodeled his 81-year-old
house and just recently converted a bedroom into a sitting room.
Diebel's passion for gardening is also evident. Asked to
perform at Carnegie Hall this
spring, he turned it down so
he could get his garden back
into shape for summer.
"I think music and my hobbies complement one another," said Diebel. "It takes
a certain amount of artistry
in each endeavor."
Diebel's current musical
endeavor is a personal one.
He is finishing writing a pavane, a very slow dance for
solemn occasions, for the
Loveland Chamber Orchestra. The piece is dedicated to
his wife of 48 years, Thayer,
who died last March.
As for the future, Diebel
will officially close his studio
in the spring but won't be
able to relax until next year.
In April, he will travel to
New York University to receive the Awti.rd for Teaching
Educator of the Year. On
Aug. 29, he will perform a
solo recital at CSU. And on
Nov. 5 he will be one of the
soloists performing with the
Fort Collins Symphony Orchestra.
Eventually, Diebel hopes to
relax - but not retire, in his
sense of the word.
"You never really retire
when you're a musician," he
said, "because your life is one
of giving rather than taking."
�CSU
I
a
s
0
a
• ..
,..._". • l
NOTEWORTHY
: Wendel Diebel, seated here with two pianos in his Fort Collins home, will be honored Sunday at Colorado State University.
•-·21•-II
•
�GARY KLEIN
PIANIST
February 20, 1994
Greetings Mr. Diebel, and to many dear old friends, and to all
of you who haue come to honor him.
It is with deepest regret that I find myself unable to be with
all of you for this special occasion this afternoon. Although
concert and personal corr1mitments haue kept me away
physically, I want you to know I am with you in spirit.
To you, Mr. Diebel, Happy Eightieth Birthday and
congratulations to you for your multitude of superior
accomplishments as a first flight musician, piani~t, composer,
and most especially, teacher. I know that I speak for the
many here, when I eHpress my thanks to you fo~ your
wonderful influence in our liues.
Since you took me under your wing as my "musical
godfather," when I was thirteen years old, I haue passed
through myriads of eHperience. Yet, the keen musical and
personal insights which I deriued from you during those
sessions are still clearly emblazoned in my mind, as if they
had happened yesterday.
Rs a teacher, I realize now, how you so subtly planted and
nurtured seeds, during your lessons, that would later deuelop ·
into full flowered blooms of musicianship. (creating some
more bloomin' musicians!) You illustrated by eHample but yet
steered us away from the counterfeit copying of others, so
that each of us might deuelop his or her own inner mastery
and musical mind, based upon a genuine understanding rooted
315 EAST 90TH STREET, NEW YORK, NY 10028
�GARY KLEIN
PIANIST
Page 2
in inner insight, and yet balanced with scholarly study. You
helped us to see from the standpoint of the composer, to
speak the language of music, and to make it our own; to
balance emotional intensity with critical thinking founded in
knowledge of form, counterpoint, and harmonic structure.
You taught us to play with total conuiction and feeling, but yet
to neuer lose the control that comes from keeping that one
part of our mind, an inner uoice, objectiuely detached, like
another listening member of the audience.
Personally, your ability to moue with grace, self-dignity and
subtle refinement, through personal triumphs and tragedies of
life, while yet retaining your optimism, wit, and deep spiritual
commitment, has serued as a shining eHample t~ us all.
Again, thank you, and may there be many more ~appy
birthdays and concerts. My loue to all of you here. I hope to
see you soon.
Rs always, your student and friend,
J!JaiJ~
Gary Klein
315 EAST 90TH STREET, NEW YORK, NY 10028
����June
21,
1994
Dear
Professor
Diebel,
I so appreciated
your recent
packet
including
your letter,
the biography
of Ernest
Hutcheson,
the article
about you and
the material
on the recital.
You must have had a cupful
of
great
memories
throughout
that
event
with so many students,
so much music.
So good to hear that
your composing
blood
is
running
strongly
and I wish you well on your composition
in
dedication
to your wife.
The bio of Hutcheson
seems informative,
but somewhat
scattershot
in the writing.
Nonetheless
I most gladly
add it
to my file
of information
on the man since
clearly
his
presence
in the New York scene was of great
significance.
Among the ideas
that
flit
through
my mind is a series
of
essays
on major figues
of the "golden
age" who have been
delegated
to the shadows.
I think
of Deems Taylor,
Howard
Barlow,
Ernest
Hutcheson
and others.
(The Deems Taylor
letters
are at Yale).
Concerning
the current
Barlow writing,
I am about
90% finished
on an article
that
focuses
on the
rise
and fall
of serious
music on radio
using
Barlow as the
exemplar
of that
era.
I have two people
who are my friends
and editors
and they are doing the severe
readings
now. I've
revised
it many times
already
since
its
first
draft
in
January.
I will
submit
it to the Connecticut
Review,
a twicea-year
publication
of the Connecticut
State
University.
�June
28,
Dear
Jim,
1994
It
was good
to
receive
your
letter
of the
21st.
last
week.
I can't
believe
it,
but
the
4th.
is
just
around
the
corner!
And I still
am struggling
to get
my 'swan-song'
recital
back
into
the
old head •••• it's
coming,
but slowly •.• two months
away,
but
I still
like
to have extra
time
in case
anything
happens,
so that
I won't
have to cram at the last
minute!
I
first
of
all
want
to
thank
you
for
the
Barlow
articles
••• s' funny,
but
I must have
read
those
articles
at the
time,
or by osmosis
incorporated
his
ideas •••• I've
always
used
dance
movements
in
my compositions
•••• ! thought
that
I had
learned
of
or
gotten
the
idea
from
Haydn
and
Bach ••• Even
Beethoven
used
the
idea
of the
popular
dances
in his
writing.
Actually,
when you look
at all
the
famous
compositions,
there
is a reference
to popular
tunes
somewhere
to be found,
so really
there
isn't
much new except
for
some of the
'way-out'
stuff
that
won't
last.
I just
learned
that
I will
be having
another
performance
this
fall
(My newest
work for Glass
Harp and Chamber Orchestra,
which
was commissioned
about
three
years
ago.)
When Thayer
became
so ill,
I asked
for an extension
of time and they
(the
Loveland
Colorado
Chamber
Orchestra)
gave
me all
the time
I needed.
It
Was completed
last
Spring
and
is
ready!
For once,
I didn't
have
to cram for
time!
So this
will
make it possible
to have
another
performance
the
week of November
7th. , on the
Colo.
State
Univ.,
Music Department's
20th.
Century
American
Composer's
Symposium.
There
will
be a goodly
number of my works performed
on programs
during
that
period ••••• I' 11 either
send you copies
of tapes,
or bring
them to New York in
December.
The dates
of which
are
temporarily
set
at
from Dec.
8th.
to 29th.
And
I sincerely
hope
that
you will
be able
to visit
us sometime
within
that
time-span.
I will
certainly
let
you know if there
are
any
changes.
The reason
I'm
going
so early,
is
that
my
oldest
Grandson
will
be confirmed
on Dec. 11th.
The Hutcheson
Bio.,
is
at
least
a start.
Maybe,
now someone
will
write
one that
is deserving
of the man and his
greatness.
I was blessed
to have been one of his personal
friends
as well
as to have him as one of my teachers
and mentors.
He is muchly
ignored
by the present
Juilliard,
which is too bad in that
there
would not be a Juilliard
today,
if not for all
the early
teachers
and
personalities
involved
•••• but
that's
another
long
story
of misplaced
envy and jealousy,
which
I hope will
be revealed
in time!
I'm
waiting
patiently
for
the
availability
of the
papers
that
Mr. Hutchi
left
in Sandwich,
Mass.
in the basement
of his youngest
son's
house.
He guards
them avidly!
All
the
best
with
your
completion
of
the
Barlow
article!
Do
�you have as many re-writes
as I do? Absolute
agony to get things
the way I really
want them.
So far
easier
to edit
some one
else's
work!
As to my thoughts
concerning
the demise of serious
music on Radio,
I'm sure that
it had to do with the advent
of
the War and the prosperity
that
followed.
I don't
have enough
historical
knowledge
to have an informed
opinion,
but I'm sure
the
'new-weal th'
bit
had something
to do with
it.
The death
of cultural
leaders
and too much money in the general
public's
hands.
I'll
get into
trouble
from here on out ••••• so take that
much and forget
the
rest!
However
I must
add that
lack
of
statesmanship
in our leaders
had much to do with it as well.
And of course
in recent
years,
the less
said,
the better!
I
just
hope to God that
it won't all go down the drain!
Of course,
when I see some of the emerging
talent
and young industry
that
also abounds in this
new generation,
I hold out some hope!
I will
look
forward
to
reading
the
article.
I agree
with you •••• Aspen is beyond my appreciation
too!
of my musical
friends
enjoy going there
for the music,
but
that
is a bit
too-too
for me.
Besides,
I can't
breath
at
altitude.
I must
so I'll
get
bid
Wendel
Diebel
to the piano
for my morning's
you goodbye for now and all the
session
best.
of
Some
even
that
practice,
�July
16,
1994
Dear Professor
Diebel,
I happily
received
your letter
and am pleased
to send you a
copy of the completed
article
on Howard Barlow. You asked
about re-writes;
yes, this one went through many, many rewrites.
What I had started
to do (focus on Barlow) got sidetracked
and my "editors"
got me back in-focus.
Hope you enjoy
it.
Some other interesting
news. A young singer
here at Western
Connecticut
State University,
who has served as a part-time
teacher
of voice,
is returning
to her native
Colorado with
her husband.
They will be settling
in Loveland and she is
going to do more studies
(I believe)
at Northern
Colorado
University.
Her name is Julianna
Bishop and just the nicest
person.
I gave her your name, address,
and number and
suggested
when they are settled
that she call you. She told
me her address
will be 1314 E. 18th St.,
Loveland
80538
(Yes, her number is indeed 13141) and her telephone
number is
to be 303/593-0071.
How small the world! I also informed her
of your upcoming concerts.
Your thoughts
on the demise of serious
music on radio are
quite interesting.
I do agree that little
is given to the
public
by its leaders
concerning
the value of music and the
arts.
Thank god for soccer,
or we wouldn't
even have tenors
singing!
Tonight,
at the Charles
Ives Center here in Danbury,
will be hearing
Roberta Peters
and orchestra
in the annual
Marian Anderson Anniversary
Concert.
Don't know if I ever
told you (or perhaps you knew), that Marian Anderson lived in
Danbury from 1950 to the last year of her life when she moved
to Portland
to be with her nephew, the conductor
James
DePriest.
Some years ago, the Ives Center
(that started
as a
group to sponsor concerts
ala Tanglewood but now has gone
over almost completely
to "pops"-type
events)
began a Marian
Anderson fund to provide
one singer
a year with a $25,000
prize.
That singer
then provides
a concert
the following
year. No, Robert Peters
didn't
win the prize last year.
She
is substituting
for the one who did but wasn't
available
this
summer. Hard to believe
that Peters
is only 63. She sang in
the performances
of the one opera that Marian Anderson sang
in at the Met - La Forza del Destina.
So, at least
there is
a connection
to the honoree.
(Fact is that she was probably
one of the few available
to fill-in
on short notice.)
Do look forward to what seems a very good possibility
of
meeting during your time in New York in December. Do please
bring a copy of the concert
in November. All the best in the
completion
of practice
and last-minute
issues.
Thanks again
for your kind communications
and interest.
It does mean a
great deal to me.
�1314 West Mountain Ave.
Ft. Collins,
Colorado
809521
July
25,
1994
Dear James,
Your manuscript
arrived
last
week and I immediately
sat myself
down and read
it
from beginning
to end.
Very fine,
and the
surprise
of surprises,
you quoted
from my little
memory of H.B •
• • • • most thoughtful,
but I'm sure there
were many more stories
like
mine available
•••• it would be interesting
to find out just
how many things
he did premiere
and what they were and by whom!
Anyway,
in your
I thank
essay.
you
for
your
mention
of my experience
with
him
I gave it to a friend
to read this
last
week-end
and she was
most impressed
with
the entire
article.
She agrees
with us:
What has happened
to our culture?
We used to have leaders
that
were
men
of
letters
and
had
outstanding
classical
educations
•.•• now look at what we have!
this
one and the one
before.
Did I tell
you that when I was 15, I had a spot program
on the radio
station
WHO in DesMoines,
Iowa, playing
a few piano
solos
for
a few weeks •••• and announcer
was 'Dutch'
Reagan.
Funny how the world turns!
I really
don't
have anything
new to report
to you, but wanted
to let you know how much I appreciated
your sharing
your article
with me.
It certainly
will
go the rounds of the musical
circle
here
in Fort
Collins!
•••. The practicing
is going
quite
well
and next
week I start
in on practicing
on the newly rebuilt
Steinway
'D' that
I bought
for the school
back in the early
60 's •••• not with my money, but managed to get a 'great
deal'
on it's
price!
I look
forward
to hearing
this coming December.
Ever
from
you
again
and
to
meeting
you
�158 Brushy Hill Road
Danbury, CT 06810
September
25,
1994
Dear Wendel,
Thanks so much for your letter
of July 25 and for your kind words
about the article
on Howard Barlow. I have not heard back from the
editors
of Connecticut
Review but am hopeful they will accept
it.
They publish
twice a year and the most recent
one just came out this
past week and it truly
is eclectic
in its contents--from
poetry
to
"deep" (and often deadly to read) research
to actual
artistic
renderings
(in this case, collages.)
I certainly
do hope
getting
together
in
heard from Juliana
Western Connecticut
Northern
Colorado?
the world of schedules
and weather permit our
December. Would enjoy that very much. Have you
Bishop, our former voice instructor
here at
State,
who has returned
for study to U of
Your mentioning
that you were starting
back on practicing
on a
Steinway
'D' that you helped get for your university
on a good deal
reminds me of a Bosendorfer
similarly
purchased
here at Western.
This
is a grand with the extra black base keys (not sure how many).
Unfortunately
when people come to play in concerts
they usually
still
want a Steinway or Baldwin and the Bosendorfer
sits
in a cage for
protection
(but am not sure what its being protected
for or against).
The world of research
on Howard Barlow has dried up within me for the
current
time. Just don't think I've got the volition
or in fact the
material
to expand it greatly.
One idea I did have was to look into
the life
of Deems Taylor and perhaps tie together
in a longer
publication
some extended views on some key (but not nearly
forgotten)
important
figures
in music of the decades before WWII.
Yale has many of the Taylor papers and I have to speak with their
librarian
there about access to them. Maybe the world of Taylor,
Judson and Barlow could fuse together.
However, I'm also in the
process
of determining
how to research
my parent's
world as
immigrants
coming to this country
in the early 1920s. Have this idea
of following
the few immigrants
to the USA who emerged from this one
little
valley
in far northern
Italy
and what happened to them in the
U.S. I've been to my parents'
home town in Italy
four times and have
more relatives
in Italy
than here (including
one aunt on my mother's
side who is still
living).
Meanwhile,
am caught up with library
and
university
duties
including
heading up the University
Senate this
year.
Well, just wanted to write and say hello and hope to hear from you as
your plans for the December trip
are confirmed.
All the best for all
things
musical.
Sincerely,
�December
27,
1994
MEETING WITH WENDEL DIEBEL IN COLUMBIAVILLE, NEW YORK
On Thursday,
Dec. 22, I drove to Columbiaville,
N.Y. (north
of Hudson,
NY about
seven miles
on Route 9) to visit
Wendel
Diebel
who was visiting
his son Mark (an Episcopalian
pastor)
at their
home on Footbridge
Extension
(phone 518/828-6016).
I brought
along
photos
of Howard Barlow,
a tape of Jeanette
MacDonald
(from Voice of Firestone)
and the bound oral
history
of Barlow.
Our discussions
ranged
from Rise Stevens
(he dated
her while
in Julliard
where he was for eight
years
and who he indicated
was a very wonderful
person,
but "shrewd"
in her ambitions)
to the growth
of value
of real
estate
around
Fort Collins
(many moneyed easterners
coming there
to be with the computer
companies
that
settled
there.)
Wendel has poor sight
now but
is looking
forward
to his operation
for cataract
removal.
He played
for me the video
of his performance
with the Fort
Collins
Symphony (he had hired
the conductor
to be at
Colorado
State
in 1949 when he was temporarily
chairman).
The
Anniversary
Dances
(samba,
waltz,
two-step)
on a theme based
on the phone number of the Fort Collins
Symphony office
was
played
and a very pleasant,
engaging
piece
(he will
send me
an audio
tape of the performance)
and then he soloed
in de
Falla's
Nights
in the Gardens
of Spain.
He is clearly
an
excellent
pianist,
with no mannerisms
(he said that
Olga
Samaroff
did not allow
mannerisms
in her students
except
for
11
William
Kapell
who was such a 11 character
anyway.)
His comments
about
Samaroff
were interesting.
She believed
that
everything
could
be achieved
through
managed
manipulation.
So when Ernest
Hutcheson
invited
him to be with
him at Chatauqua
as assistant,
Samaroff
wanted
to know how he
had wrangeled
the position,
which in fact
was simply
a
request
by Hutcheson.
He could
understand
how Stowkowski
and
she could
not last
long together
but she did provide
him with
all the opportunities
early
in his career.
Didn't
talk
a lot about
Barlow,
in fact
little
at all.
He did
indicate
he loved the comment of Barlow and Gershwin.
I told
him I thought
the Concerto
in Fis
most underplayed.
He had
played
it at Chautauqua
with Albert
Stoessel.
I asked him
about
Major Bowes. Not a pleasant
man, but a superb
entrepreneur.
Wendel won one of the national
programs
and
then toured
with one of the many groups.
WD thought
upwards
of six to eight
toured
in different
regions
at any time as
part
of a vaudeville
presentation
between
feature
film
showings.
An interesting
story.
WD roomed with one of the
other
performers
and because
he didn't
like
to leave
his
money around,
he asked this
fellow
to keep the money for him.
�Later
turned
out that
many robberies
troups
tour
and the robber
was the
any of WD's money.
had occurred
during
the
roomate,
but never took
We chatted
about his interests
in wood repair
and
refinishing,
how he and his wife had worked on their
house
(bought
in 1950 for $9,000
and now worth about
$250,000)
throughout
her lifetime.
He loves
to cook ("a mean
spaghetti
sauce
and a great
beef soup")
and have friends
over
in large
numbers.
He is now seeing
his wife's
best
friend
and she is serving
as hostess
for any dinners
he has.
He retired
in 1974, early
retirement
based on a very good
pension
plan and has kept up his teaching
and involvement
in
music.
I promised
to
a copy of the
send him a copy of the Barlow oral
history
Eleanor
Steber
V of F tape
(the first
one).
and
�January
Dear
7,
1995
Wendel,
Thanks
for your note of Dec. 27th and I hope your trip
home was a good
one,
filled
with fine memories
of your family
in New York.
Surely
I
enjoyed
meeting
you and hearing
first
hand of your world of music and
seeing
and hearing
first
hand your world of music.
You have had such a
wonderful
life
and it moves along in new and vital
directions,
a model
for all those
who have been influenced
by you. I look forward
to
receiving
the audio
tapes
of the music to be able to share
the music you
have made with friends
of mine especially
the conductor
of the Danbury
Symphony.
How sad to hear that
the Louisville
Orchestra
is in bad shape.
For years
it was the main group that
provided
a home for new orchestral
music ••• and in all places
Louisville!
I am sending
a copy of the Barlow reminiscences,
the first
of the tapes
of Eleanor
Steber
produced
by VAI (and a more complete
catalog
of VAI).
Also,
(I had forgotten
about these)
a copy of his writings
about
conducting
which he has noted as copyright
1969. In his last
years
he had
generated
thoughts
on conducting
specific
works and in the enclosed,
he
writes
on the Beethoven
First
Symphony,
Copland's
Outdoor
Overture,
and
the Prelude
to Die Meistersinger.
In notes
we have,
he had started
on
others
as well.
I do know that
he did present
a course
on conducting
at
Western
Connecticut
State
University
here in Danbury
(where I am in the
library)
and suspect
that
this
was a text,
but his failing
health
(he
died in early
1972) kept him from going much further.
I believe
there
is
much to learn
in these
conducting
comments and would be very interested
in your comments
and any others
(perhaps
your friend
the conductor
of the
Fort Collins
Symphony).
For now, I believe
it best that
you hold onto
these
Barlow writings
as personal
copies.
I will
have to inquire
about
the "rights"
that
Columbia
University
holds
over these
oral
histories.
The copy I made is from one that
I showed you, a bound copy that
was
Barlow's
own. Here there
is a strange
story
also.
This bound copy was not
among the materials
that
were in the memorabilia
given the Bethel
Library
by Barlow's
widow (and which is now in the safe-keeping
of the WCSU
Library).
I found it in material
that
was kept by the daughter
of a
musician
friend
of Barlow's.
She gave it to be with the other
materials
of the library.
I am so pleased
we
the correspondence
but as I told
you,
individuals
of the
could
be of interest.
have this
musical
friendship
established
and will
keep
rolling.
Not sure what I will
do more now with Barlow,
perhaps
working
on a piece
emphasizing
several
key
1930s such as Deems Taylor,
Barlow,
Arthur
Judson
I hope that
1995 is an especially
All the best
to you.
good
year
for
you
in
all
ways.
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•
�February 17, 1995
Dear Wendel,
I was so pleased to hear from you on your several phone calls and glad that the
eyes are returning to (to quote a famous voice) "those thrilling days of
yesteryear." Certainly I can tell that you are not letting the difficulties stand in the
way of working, playing, hobbying and just plain enjoying life ...and that's the way
it should be.
I'm enclosing a copy of an article that was sent to me by a member of the
Western Connecticut faculty. He's a real pack rat and know of my interest in
Barlow. This is the kind of article that is truly buried in the past except for
someone who is a saver. Gives a nice slant to Barlow and the life he led when
he left all the professional world of radio/TV. The galleys for my article have
arrived and nice to see it in print. The really good news is that they will print
three photos and in the same size of the photo, thus two are full page. Expect it
will be the end of March before the publication arrives.
After many a year, I've returned to singing in the Danbury Concert Chorus and
the program is really an interesting one---Dvorak, Brahms, Gershwin and
spirituals. The Dvorak Te Deum and four of his songs from his "In Nature" cycle,
the Brahms Schicksallied, a Porgy and Bess medley and spirituals (with a very
fine young black girl as soloist in several of the arrangements). I had sung the
Brahms once before and find it a particularly effective piece, little known to most.
The winter has been a relatively mild one (as I'm sure you've heard from your
son), but we did have a good siege two weekends ago just so Mother Nature
wouldn't let us forget who ultimately is in command. Last Wednesday we were
supposed to get a siege of terrible snow, ice, sleet and whatever other forms of
ice abound. Everyone dove for cover by four in the afternoon. The result--two
snowflakes, a lot of rain, and some very red faces on the meteorologists. We
happen to have the principal meteorology station for Western Connecticut. They
forgot to look out the window!
I've gone back to working with Literacy Volunteers. Have a 35 year old
Ecuadorian man who needs to improve his English. He was an elementary
school teacher in his native· land. Really fine fellow with wife and three young
children. He is a service man in a factory in Danbury. Hopefully we can help him
to get a teaching certificate in Connecticut. Really great to see the dedication of
such a person.
Well, I'll close now and hope to hear from you soon. Thanks for keeping in touch
and I look forward to the music that will be co7
soon. All the best,
�May 4,
Dear
1995
Jim,
I should
have
answered
your
notes
two weeks
ago,
but that
was
when I went
off
the
Prednisone
and the body has had one heck
of a time
adjusting
to no drugs
in the system.
I seem to want
to do nothing
but
sleep •••• ! guess
it's
OK in that
I did
so
little
sleeping
while
on the
stuff •••• three
months
of it!
I'm
most happy to be off!
Anyway,
thanks
for the article.
It must be good to see yourself
in print.
I know that
I was delighted
to see my first
published
work!
And I want
you to know that
I appreciated
the program
notes
more than I can say.
The manner in which you tied
together
Brahms
and Gershwin
through
Dvorak
is most ingenious.
I want
to give
the
remarks
to our Symphony program
notes
writer
•••• she
just
might
be able
to use them sometime •.•• of course
with credit
to you!
Not much to
report
from this
end ...• I am trying
to get
back
to
practicing
and
eventually
complete
the
CD I started
last
summer •••• had
to
cut
off
working
on
it
for
the
Symphony
performance
in November.
Will
be playing
two Scarlatti
Sonatas
for
the
music
teachers
this
coming
monday.
I'm
most
anxious
to get
into
the
garden
and get
it planted,
. but
so far we have
had
nothing
but
cloudy,
cold,
rainy,
snowy weather
all
April
and so-far
this
month.
Quite
unusual
for Colorado!
My best
to
you
and
the
best
of
luck
with
all
your
projects!
Ever
Did I ever
books)?
If
send you
I didn't
my recordings
of the Debussy
do let me know, and I'll
send
Preludes
(both
you a tape.
�July
4,
1995
Dear
Professor:
I am using
a rather
quiet
Fourth
to catch
up on some
correspondence.
Thanks for your letter
of May 4 with the
nice comments
about my writing.
I'm sending
along
some notes
for a concert
by I Solisti
New York who came to Danbury
for
our Community Concert
series.
They did not send notes,
so
someone who knew I did notes
asked if I could
oblige
and I
did.
How difficult
to condense
into
a specific
space.
Anyway, they were worth doing if only to get to know the
Brahms Serenade
No. 1. What a wonderful
composition
and so
seldom played.
The chamber
orchestra
did it in a scaled-down
version
as it was originally
meant to be played
(though
my
research
indicated
that
the original
chamber music version
is no more and Brahms ''blew
it up"
for large
orchestra
later.)
I do hope
operations
wrote
you
wanted
to
that
by now all the good things
of the past
are in place
and none of the negatives.
When you
indicated
you were just
off of Prednisone
and
do nothing
but sleep!
A few notes
concerning
your music.
I never heard back from
the conductor
of the Danbury Symphony concerning
the copy I
had given
him (made from the one you sent me) of the
Anniversary
Dances.
I didn't
feel
it was for me to pursue
the issue
as I made a few suggestions
of how nice it would
be to establish
a connection
with an orchestra
elsewhere
and
that
this
''anniversary"
composition
would be appropriate
for the sixtieth
anniversary
year of the Danbury Music
Centre
(who sponsors
the symphony.)
Meanwhile
I have
resigned
from the Board of the Centre
after
ten years
somewhat
discouraged
by the fact
that
the executive
director
has been given
too much latitude
by the Board.
As you well
know, community
organizations
have a spiritual
side that
can
change
from heavenly
to devilish
in a short
amount of time
depending
on whether
objectivity
or self-serving
is
paramount.
You had also asked if you had sent me a copy of
your Debussy
Preludes
recording.
Yes, you have and I've
enjoyed
them greatly.
My current
interest
in Deems Taylor
moves somewhat
slowly.
I've
just
sent my first
letter
to his only relative,
a
daughter
who lives
in New York. Hopefully,
she will
be
available
for interview
and provide
some other
names of
individuals
who might be helpful
in gaining
insights
about
him. I've
started
through
the Yale holdings
of his
materials,
the largest
holdings
in the country.
Also been to
NY Public
at Lincoln
Center
and found some unique
materials
there.
Taylor
is quite
like
Barlow in that
he had a persona
that
seemed defined
by his scholarly
looks--that
is,
a bit
�tepid.
Funny, but I asked Frank Merkling,
who writes
music
reviews
for the local paper,
if he had ever met Deems
Taylor.
Now Merkling
for over a dozen years in the 50s and
60s had been editor
of Opera News, so asking the question
seemed appropriate.
He indicated
that he did recall
meeting
him once, but couldn't
remember where or when. Then,
referring
to the part of my article
about Barlow that stated
that Deems Taylor's
review of the American National
Orchestra
had been the basis of its being ''killed",
Merkling
said:
''I was interested
that Taylor ''killed"
Barlow's
orchestra.
That's
the most vivid thing I've ever
heard about the man!" Well, in reading
some of the letters
to and from Taylor,
there was a racy side,
so the public
persona
and the private
could be different.
Anyway, I'll
aim
at an article
like unto that of Barlows.
Well, I do hope that your garden is growing very well by
now. Since I'm in charge of the exterior
parts
of the
property,
I can join you in exulting
at the wonders of
nature,
the wonders of basil
(and the pesto sauce that
follows),
of voles
(the little
animals under the soil that I
had never heard of before I came to Connecticut),
of peonies
(that must be among the most beautiful
of flowers
and which
do so well around here),
of diazinon
(that helps kill
the
omnipresent
ants).
So I would say that its 50:50 between
good and the bad, but the good is so GOOD!
So, for now, I'm hoping you and all your family and friends
are in the best of summer moods. Please do keep in touch and
I will surely
do the same.
Most sincerely,
�October
Dear
20,
1995
Professor,
I was so pleased
to receive
your letter
as I had been too lazy to
look in my file
and find out who had last
written
and guess what?
It was me. Well,
I can only tell
you that
your letter
of July
15
relating
to some ideas
about
finding
material
on Deems Taylor
is
most useful.
I've
not contacted
your friend
Geoffrey
McGillen
yet,
but will
in due time.
Let me tell
you what has transpired
re Deems
Taylor.
I have been in touch with his daughter
Joan Kennedy Taylor
and she is most supportive
of my work. Decided
now was the time to
push forward
so I have applied
for a six month sabbatical
for next
academic
year to pursue
the Taylor
work. I think
I'll
get it.
So
much material
is at Yale and Ms. Taylor
has indicated
that
she has
much more that
is pertinent.
What is now going on is the following.
On Wednesday,
I fly to
California
to visit
my brother
and family.
While there
I will
be
interviewing
members of the five different
families
who migrated
from the same little
town and valley
in northern
Italy
(up against
the Alps),
La Val di Peio,
and ended-up
in Ferndale,
California.
My parents
were one of those
families.
Prior
to my father
coming
over in 1912, a distant
cousin
had led the way.
(He is the old
man second
from the right
in the photo taken
at my graduation
from
Saint
Mary's
College,
California
in 1955.)
Three other
families
followed.
On Thanksgiving
Day I fly to Italy
to research
the
families
from the other
end, so to speak.
The copy of the letters
enclosed
is from a publication
of the little
town and my cousin
Anna who lives
in the town got together
with the librarian
of the
town (whom I am in touch with for the research
needs)
and decided
to publish
the letters
whereby
I indicate
my interest
in
researching
these
families.
Apparently
my mother
had sent a photo
of my graduation
to the family
years
ago and they dragged
it out
for the article.
My sister
Dolores
died in 1972 and her two
daughters
live
in Sacramento
where I fly into
and leave
from.
Pauline,
the daughter
of the old man Vigilio
Pegolotti,
is still
alive
and in Santa
Rosa and I'll
stop to see her as I drive
from
Sacramento
up to Eureka where my brother
lives.
For some time I've
been thinking
of writing
a little
history,
a micro-immigration
tale
describing
the social
and geographical
setting
of the
"contadini"
of this
little
area
(that
was the far western
edge of
Austria
until
the end of World War I.)
I'm fortunate
that
my
Italian
(a gift
from my parents
who spoke Italian
at every
meal)
is good enough to try and pull
this
off.
So, I'll
push
forward
and hopefully
can get something
done over the Christmas
vacation,
then turn my attention
back to Deems Taylor.
�Congratulations
on the issuing
of the Debussy preludes
on CD.
I definitely
will
purchase
two, one for the library
and one for
myself.
Just
let me know the purchase
process
and amount.
Yes,
I do have the LP recordings,
but this
makes a great
addition
to the piano
literature!
What with the house alterations
of
fireplace
and floor,
you are moving along at quite
a pace.
Sorry
to hear about your brother.
In the autumns
of our lives
we are battered
by the realities
of the future.
Yet, that
makes
the presence
of music so much more vital
as nothing
provides
a
consoling
atmosphere
more than the great
music of the past.
God speaks
through
music without
a doubt.
I include
also a copy of the program
the brief
notes
from last
Sunday's
Musici
di Montreal
concert.
This is one special
group.
All the string
players
except
cellists
stand while
playing
so
it appears
to be a group of soloists.
I was quite
right
about
transcription
of the Mozart horn concerto
into
a cello
concerto.
The soloist
turned
it into a virtuosic
piece
which the reviewer
said was "more Sarasate
than Mozart."
The great
musical
event
the Bartok
which in an intimate
setting
(600 seat
auditorium)
the musicians
in a "stereo"
mode, one could
follow
oh so clearly
the composers
intention
of themes leaping
from instrument
to
instrument,
group to group.
Bartok's
Divertimento
was unknown
me before
I sat down to listen
and then write.
Wonderfully
expressive
modern music.
that
the
was
and
to
Well,
I've
got to tackle
notes
today
for an all-Prokofiev
concert
being
given by the Danbury Symphony (Sym. No. 5, Lt. Kije,
Two
pieces
from Love for Three Oranges--March
and Scherzo).
Have
always
wanted
to learn
more about Prokofiev
(or Prokofief
or
Prokofieff)
and a recent
biography
Sergei
Prokofiev
by Harlow
Robinson
has proven
valuable,
along with many articles
that
I can
summon up from newspapers
and magazines.
One of the most
interesting
is from the NY Times Magazine
some years
ago where one
member of the quartet
that
played
at the wake of Stalin
details
those
three
days.
They started
by playing
at Prokofiev's
wake
(since
he had died one hour or so before
Stalin),
then got
summoned to the Stalin
wake. The slow movement of the Tchaikovsky
Second quartet
was played
over and over again.
I look forward
to hearing
from you when you are
and the timing
looks good for a possible
visit.
a very good trip
and thank you so much for your
correspondence.
All
the
best,
back in New York
All the best
for
continuing
�February 17, 1995
Dear Wendel,
I was so pleased to hear from you on your several phone calls and glad that the
eyes are returning to (to quote a famous voice) "those thrilling days of
yesteryear." Certainly I can tell that you are not letting the difficulties stand in the
way of working, playing, hobbying and just plain enjoying life ...and that's the way
it should be.
I'm enclosing a copy of an article that was sent to me by a member of the
Western Connecticut faculty. He's a real pack rat and know of my interest in
Barlow. This is the kind of article that is truly buried in the past except for
someone who is a saver. Gives a nice slant to Barlow and the life he led when
he left all the professional world of radio/TV. The galleys for my article have
arrived and nice to see it in print. The really good news is that they will print
three photos and in the same size of the photo, thus two are full page. Expect it
will be the end of March before the publication arrives.
After many a year, I've returned to singing in the Danbury Concert Chorus and
the program is really an interesting one---Dvorak, Brahms, Gershwin and
spirituals. The Dvorak Te Deum and four of his songs from his "In Nature" cycle,
the Brahms Schicksallied, a Porgy and Bess medley and spirituals (with a very
fine young black girl as soloist in several of the arrangements). I had sung the
Brahms once before and find it a particularly effective piece, little known to most.
The winter has been a relatively mild one (as I'm sure you've heard from your
son), but we did have a good siege two weekends ago just so Mother Nature
wouldn't let us forget who ultimately is in command. Last Wednesday we were
supposed to get a siege of terrible snow, ice, sleet and whatever other forms of
ice abound. Everyone dove for cover by four in the afternoon. The result--two
snowflakes, a lot of rain, and some very red faces on the meteorologists. We
happen to have the principal meteorology station for Western Connecticut. They
forgot to look out the window!
I've gone back to working with Literacy Volunteers. Have a 35 year old
Ecuadorian man who needs to improve his English. He was an elementary
school teacher in his native land. Really fine fellow with wife and three young
children. He is a service man in a factory in Danbury. Hopefully we can help him
to get a teaching certificate in Connecticut. Really great to see the dedication of
such a person.
Well, I'll close now and hope to hear from you soon. Thanks for keeping in touch
and I look forward to the music that will be co7
soon. All the best,
�May 4,
Dear
1995
Jim,
I should
have answered
your notes
two weeks ago,
but that
was
when I went off
the Prednisone
and the body has had one heck
of a time adjusting
to no drugs in the system.
I seem to want
to do nothing
but sleep •••• I guess
it's
OK in that
I did so
little
sleeping
while
on the stuff ••.• three
months of it!
I'm
most happy to be off!
Anyway, thanks
for the article.
It must be good to see yourself
in print.
I know that
I was delighted
to see my first
published
work!
And I want you to know that
I appreciated
the program
notes more than I can say.
The manner in which you tied together
Brahms and Gershwin
through
Dvorak
is most ingenious.
I want
to give
the remarks
to our Symphony program
notes
writer •••• she
just
might be able to use them sometime •••• of course
with credit
to you!
Not much to report
from this
end •... I am trying
to get back
to practicing
and eventually
complete
the
CD I started
last
summer •••• had
to
cut
off
working
on
it
for
the
Symphony
performance
in November.
Will be playing
two Scarlatti
Sonatas
for
the
music
teachers
this
coming
monday.
I'm most anxious
to get into
the garden
and get it planted,
. but so far we have
had nothing
but
cloudy,
cold,
rainy,
snowy weather
all
April
and so-far
this
month.
Quite unusual
for Colorado!
My best
to
you
and
the
best
of
luck
with
all
your
projects!
Ever
Did I ever send you my recordings
of the Debussy
books)?
If I didn't
do let me know, and I'll
send
Preludes
(both
you a tape.
�July
4,
1995
Dear
Professor:
I am using
a rather
quiet
Fourth
to catch
up on some
correspondence.
Thanks for your letter
of May 4 with the
nice comments
about my writing.
I'm sending
along
some notes
for a concert
by I Solisti
New York who came to Danbury
for
our Community Concert
series.
They did not send notes,
so
someone who knew I did notes
asked if I could
oblige
and I
did.
How difficult
to condense
into
a specific
space.
Anyway, they were worth doing if only to get to know the
Brahms Serenade
No. 1. What a wonderful
composition
and so
seldom played.
The chamber
orchestra
did it in a scaled-down
version
as it was originally
meant to be played
(though
my
research
indicated
that
the original
chamber music version
is no more and Brahms ''blew
it up"
for large
orchestra
later.)
I do hope
operations
wrote
you
wanted
to
that
by now all the good things
of the past
are in place
and none of the negatives.
When you
indicated
you were just
off of Prednisone
and
do nothing
but sleep!
A few notes
concerning
your music.
I never heard back from
the conductor
of the Danbury Symphony concerning
the copy I
had given
him (made from the one you sent me) of the
Anniversary
Dances.
I didn't
feel
it was for me to pursue
the issue
as I made a few suggestions
of how nice it would
be to establish
a connection
with an orchestra
elsewhere
and
that
this
''anniversary"
composition
would be appropriate
for the sixtieth
anniversary
year of the Danbury Music
Centre
(who sponsors
the symphony.)
Meanwhile
I have
resigned
from the Board of the Centre
after
ten years
somewhat
discouraged
by the fact
that
the executive
director
has been given
too much latitude
by the Board.
As you well
know, community
organizations
have a spiritual
side that
can
change
from heavenly
to devilish
in a short
amount of time
depending
on whether
objectivity
or self-serving
is
paramount.
You had also asked if you had sent me a copy of
your Debussy
Preludes
recording.
Yes, you have and I've
enjoyed
them greatly.
My current
interest
in Deems Taylor
moves somewhat
slowly.
I've
just
sent my first
letter
to his only relative,
a
daughter
who lives
in New York. Hopefully,
she will
be
available
for interview
and provide
some other
names of
individuals
who might be helpful
in gaining
insights
about
him. I've
started
through
the Yale holdings
of his
materials,
the largest
holdings
in the country.
Also been to
NY Public
at Lincoln
Center
and found some unique
materials
there.
Taylor
is quite
like
Barlow in that
he had a persona
that
seemed defined
by his scholarly
looks--that
is,
a bit
�tepid.
Funny, but I asked Frank Merkling,
who writes
music
reviews
for the local paper,
if he had ever met Deems
Taylor.
Now Merkling
for over a dozen years in the 50s and
60s had been editor
of Opera News, so asking the question
seemed appropriate.
He indicated
that he did recall
meeting
him once, but couldn't
remember where or when. Then,
referring
to the part of my article
about Barlow that stated
that Deems Taylor's
review of the American National
Orchestra
had been the basis of its being ''killed",
Merkling
said:
''I was interested
that Taylor ''killed"
Barlow's
orchestra.
That's
the most vivid thing I've ever
heard about the man!" Well, in reading
some of the letters
to and from Taylor,
there was a racy side,
so the public
persona
and the private
could be different.
Anyway, I'll
aim
at an article
like unto that of Barlows.
Well, I do hope that your garden is growing very well by
now. Since I'm in charge of the exterior
parts
of the
property,
I can join you in exulting
at the wonders of
nature,
the wonders of basil
(and the pesto sauce that
follows),
of voles
(the little
animals under the soil that I
had never heard of before I came to Connecticut),
of peonies
(that must be among the most beautiful
of flowers
and which
do so well around here),
of diazinon
(that helps kill
the
omnipresent
ants).
So I would say that its 50:50 between
good and the bad, but the good is so GOOD!
So, for now, I'm hoping you and all your family and friends
are in the best of summer moods. Please do keep in touch and
I will surely
do the same.
Most sincerely,
�October
Dear
20,
1995
Professor,
I was so pleased
to receive
your letter
as I had been too lazy to
look in my file
and find out who had last
written
and guess what?
It was me. Well,
I can only tell
you that
your letter
of July
15
relating
to some ideas
about
finding
material
on Deems Taylor
is
most useful.
I've
not contacted
your friend
Geoffrey
McGillen
yet,
but will
in due time.
Let me tell
you what has transpired
re Deems
Taylor.
I have been in touch with his daughter
Joan Kennedy Taylor
and she is most supportive
of my work. Decided
now was the time to
push forward
so I have applied
for a six month sabbatical
for next
academic
year to pursue
the Taylor
work. I think
I'll
get it.
So
much material
is at Yale and Ms. Taylor
has indicated
that
she has
much more that
is pertinent.
What is now going on is the following.
On Wednesday,
I fly to
California
to visit
my brother
and family.
While there
I will
be
interviewing
members of the five different
families
who migrated
from the same little
town and valley
in northern
Italy
(up against
the Alps),
La Val di Peio,
and ended-up
in Ferndale,
California.
My parents
were one of those
families.
Prior
to my father
coming
over in 1912, a distant
cousin
had led the way.
(He is the old
man second
from the right
in the photo taken
at my graduation
from
Saint
Mary's
College,
California
in 1955.)
Three other
families
followed.
On Thanksgiving
Day I fly to Italy
to research
the
families
from the other
end, so to speak.
The copy of the letters
enclosed
is from a publication
of the little
town and my cousin
Anna who lives
in the town got together
with the librarian
of the
town (whom I am in touch with for the research
needs)
and decided
to publish
the letters
whereby
I indicate
my interest
in
researching
these
families.
Apparently
my mother
had sent a photo
of my graduation
to the family
years
ago and they dragged
it out
for the article.
My sister
Dolores
died in 1972 and her two
daughters
live
in Sacramento
where I fly into
and leave
from.
Pauline,
the daughter
of the old man Vigilio
Pegolotti,
is still
alive
and in Santa Rosa and I'll
stop to see her as I drive
from
Sacramento
up to Eureka where my brother
lives.
For some time I've
been thinking
of writing
a little
history,
a micro-immigration
tale
describing
the social
and geographical
setting
of the
"contadini"
of this
little
area
(that
was the far western
edge of
Austria
until
the end of World War I.)
I'm fortunate
that
my
Italian
(a gift
from my parents
who spoke Italian
at every
meal)
is good enough to try and pull
this
off.
So, I'll
push
forward
and hopefully
can get something
done over the Christmas
vacation,
then turn my attention
back to Deems Taylor.
�Congratulations
on the issuing
of the Debussy preludes
on CD.
I definitely
will
purchase
two, one for the library
and one for
myself.
Just
let me know the purchase
process
and amount.
Yes,
I do have the LP recordings,
but this
makes a great
addition
to the piano
literature!
What with the house alterations
of
fireplace
and floor,
you are moving along at quite
a pace.
Sorry
to hear about your brother.
In the autumns
of our lives
we are battered
by the realities
of the future.
Yet, that
makes
the presence
of music so much more vital
as nothing
provides
a
consoling
atmosphere
more than the great
music of the past.
God speaks
through
music without
a doubt.
I include
also a copy of the program
the brief
notes
from last
Sunday's
Musici
di Montreal
concert.
This is one special
group.
All the string
players
except
cellists
stand while
playing
so
it appears
to be a group of soloists.
I was quite
right
about
transcription
of the Mozart horn concerto
into
a cello
concerto.
The soloist
turned
it into a virtuosic
piece
which the reviewer
said was "more Sarasate
than Mozart."
The great
musical
event
the Bartok
which in an intimate
setting
(600 seat
auditorium)
the musicians
in a "stereo"
mode, one could
follow
oh so clearly
the composers
intention
of themes
leaping
from instrument
to
instrument,
group to group.
Bartok's
Divertimento
was unknown
me before
I sat down to listen
and then write.
Wonderfully
expressive
modern music.
that
the
was
and
to
Well,
I've
got to tackle
notes
today
for an all-Prokofiev
concert
being
given by the Danbury Symphony (Sym. No. 5, Lt. Kije,
Two
pieces
from Love for Three Oranges--March
and Scherzo).
Have
always
wanted
to learn
more about Prokofiev
(or Prokofief
or
Prokofieff)
and a recent
biography
Sergei
Prokofiev
by Harlow
Robinson
has proven
valuable,
along with many articles
that
I can
summon up from newspapers
and magazines.
One of the most
interesting
is from the NY Times Magazine
some years
ago where one
member of the quartet
that
played
at the wake of Stalin
details
those
three
days.
They started
by playing
at Prokofiev's
wake
(since
he had died one hour or so before
Stalin),
then got
summoned to the Stalin
wake. The slow movement of the Tchaikovsky
Second quartet
was played
over and over again.
I look forward
to hearing
from you when you are
and the timing
looks
good for a possible
visit.
a very good trip
and thank you so much for your
correspondence.
All
the
best,
back in New York
All the best
for
continuing
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�December
Dear
31,
1995
Wendel,
It was so thoughtful
of you to call
and extend
the greetings
of the
Christmas
season.
You are so right
about the pinpointing
of
Christmas
as December 25th.
I recall
my mother
telling
me that
in
Italy
the two days when gifts
were presented
were December
13, Saint
Lucy's
Day. Saint
Lucy was blind
and she was transported
about
by a
donkey.
Children
would leave
a shoe with some straw
for the donkey.
In the morning,
a small
gift
would be in the shoe (and I mean small
like
two little
candies,
a "penny")
and then on the Epiphany
perhaps
a godfather
or godmother
would present
a little
something
to their
godchild.
Christmas
itself
had such a strong
religious
base that
it
would not be defiled
by the custom of gifts.
Must say that
is now
changing
as even the stores
are remaining
open on the Sundays
before
Christmas.
How American
can you get!
Well,
I'm sending
you a pack of reading
material:
my notes
from the
all-Prokofiev
concert,
a letter
I sent to relatives
and friends
about
my Italian
trip
and a reprint
of the essay
about
the music in
Barry Lyndon,
part
of a forum on the movie.
The day after
we talked,
I received
the reprints.
I do know you would enjoy
seeing
the film
and contemplating
the unusual
aspect
of Kubrick's
use of music.
If
you have any problem
locating
a copy,
let me know and I'll
send you
mine.
I look forward
most anxiously
to
preludes
and include
a check for
collection
at the University.
It
totally
satisfied
with the result
next venture
in this
regard.
hearing
the CD of the Debussy
the copy I will
put into
our music
is so good to know that
you are
of the transfer.
Good luck on the
Enclosed
also
is a copy of a recipe
for a spaghetti
sauce that
comes
from the northern
reaches.
Our Music Centre
put out a cookbook
this
year and I contributed
the sauce recipe
of my mother
Ida.
It is a
bit different
and you might cut back the rosemary
to one teaspoon.
Think you'll
like
it.
(Special
secret:
the pale dry sherry
I use is
Fairbanks,
the new name for the old Gallo brand.)
As I mentioned,
I and my friend
Steve
Sosin are off to Hawaii
on
Friday
for two weeks.
Should
be a great
time.
On my return
I should
know if I'll
have the sabbatical
I requested
(May-August
and Dec.Jan.)
for work on the Deems Taylor
material.
Will let you know.
Let me wish you the
friends.
With those
best
of years
in
three,
what else
1996
does
in health,
one need?
music
and
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Flying Cloud,1,782-ton extremeclippership, 1916
Original ship built by Donald McKay; model: by Horace E. Boucher Mfg. Co .
under the supervisionof Capt.Arthur H. Clark(American)
Polychromedpine, mahogany, boxwood, cambric,silk, paper, glass, brass, steel
38x 24x 62inches;scale: 3/16" = 1'
Gift of Frederick C. Fletcher
© 1994 MUSEUM OF FINE ARTS, BOSTON
35.42
05/94
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21178201
�r
�April
Dear
9,
1996
Wendel,
The last
(I hope) of our snowstorms
came last
night
and we have a
delayed
opening,
so I'm sitting
down to write
a few letters.
Do hope
your springtime
is ahead of ours as we have had two snowstorms
in
the last
three
days and the budding
plants
have gotten
squashed.
Am including
program
notes
for a couple
of upcoming
concerts.
The Danbury
Symphony is self-explanatory.
The other
is notes
that
are to be printed
up in a different
format,
so I left
out
information
such as the fact
that
this
is a program
of the Ames
Piano Quartet
for our Community Concert
series
in a week from
Sunday.
They are (as you might guess)
from Ames, Iowa and though
I
didn't
mention
it in the notes,
the influence
of the Czechs
(with
Dvorak's
visit
to Spillville)
may have reached
through
the decades
and brought
the Suk piano
quartet
to the fore.
You, better
than I,
know the limitations
of the piano quartet
literature,
but must say I
have enjoyed
listening
to the Suk quartet.
I don't
think
I'm reading
the Ave Maria into
the second movement.
Seems that
the two phrases
are just
so clear!
Well,
I did receive
the sabbatical,
so on May · 4 (Saturday)
I shed my
librarian's
garb and take on that
of researcher
until
the end of
August.
(I'll
also have December and January.)
Of course
I've
been
dealing
in material
on Deems Taylor
for several
years
now.
Three
weeks ago I had a meeting
with Taylor's
only offspring,
his daughter
Joan Kennedy Taylor
(her mother
was Mary Kennedy,
Deems second
wife.)
She is most gracious
and helpful
and gave me several
cassettes
of his music from non-commercial
sources.
She also
has
material
up in a home in Massachusetts
and I'll
be able to meet with
her there
in June.
As I think
I've
mentioned,
most of the material
is at Yale,
but I do appreciate
your past
suggestions
and will
be
contacting
your friend
Geoffrey
McGillen
for further
ideas.
Just
a
little
quip from Taylor
recounted
by his daughter.
Taylor
was
president
of ASCAP from 1942-1948.
At some meeting,
Copland
was
present
and made (I presume)
a rather
lofty
statement.
Taylor
then
stage-whispered:
"The problem
with Aaron is that
he thinks
he's
Moses!"
I do assume that
the world of music and the home keep you beyond
busyness,
but I hope that
in general
satisfaction
abounds.
Please
do
keep in touch
and thank you so much for your interest
in my
writings.
This is for me a great
stimulus
to continue!
All the best
always.
�I l
MUSICAL
Music in New York
( Co11ti1111ed
from page 2)
cc uf Schumann's Concerto. The Havdn
ms symphonies were repeated at · the
ncert, while at the second. Robert L.
u-winner of the 1937-38 American Com•ntest,. conducted his prize-winning Lit10ny in G, replacing the Haydn. The
melodic, classic in form, and welt
erger Attends Concert
::rformances of Brahms' Third Symre given by John Barbirolli
and the
LEADER
phuny No. 3 and the Piano Concerto No. 1 were
heard. Thomas R,ichner . pianist, revealed a penetrating insight into the -;pirit of the concerto.-P.K.
The matinee Mar. 5 presented Mr. Richner in
another brilliant perfurp1ance of the concerto, and
the Brahms' Third. Ed 6 ar Schenkman's conducting wa: particularly sympathetic in the concerto.
In the evening, Dusolina Giannini, :Metropolitan soprano, was heard · in three Strauss songs.
Edwin McArthur conducted the Civic Orchestra
before a large and enthusiastic audience. He presented Arthur Farwell's Svmb::ilistic Studv No.
3, Mendels~ohn's_ ~fOt-:h ·symphony ... Wign.:r's
!:'relude to P~rstf~I ~nd <;)verture t~ . Th~ J, lymg Dutchman
with 111telhgent mus1c1ansh1p.
"II" d
h ,
dS
rbirolti prefaced the symphony with
·Euryanthe"
Overture and a splendid
·e of Elgar's
"Enigma"
Variations
He also played Ravel's orchestration of
"Sarabande" from the suite "Pour le
ar. 4-5 Schubert's "Rosamunde" Over1e Polka and Fugue from V./einberger's
" were he2rd. On Mar. 4, the Czecho·umpuser "as present tu hear his WL'rk.
Serkin In Memorial
[{.
Eugene Plotnikoff conducted a Brahms
"he Variations on a Haydn theme, Sym-
IN PERCIVAL
ALBERT5TOESSEL
1RITONE-Concert, Radio, Opera, Ora1,rio
,resent;:ti·,e.B. Mny Pingle,Steinwly Hall,N. Y.C.
Symphony than these young rnus1c1ans played
under 1lr. Stuessel's b~ton would be hard to
imagine. Lightness, enthusiasm and vivacity illuminated the score most advantageously. An interesting presentation w;:,s a piece for piano and
orchestra hy a student, \V endel Diebel, with thl'
composer as soloist. Tl1c work showed much
promise r111dunusual tal,·nt. It has melody, good
TEACHER OF SINGING
harmonic background, ard modernity without exaggerated dissonance.
Hr. Diebel ts a splendid
'W. 86th St. PhoneSchuyler3580 New York
pianist.
The second half was Jevoted to Ravel, beginning with a splendid performance of the Introe alone was worth going miles to hear"
duction and Allegro for harp and orchestra . with
Neil Weibel, Pittsburgh Gazette
Marcel Grandjany
as soloist. Florence
Page
Kimball sang \\ ith style and sympathy the three
poems for voice and orchestra. "Scheherezade.''
In both these numbers tltc orchestra accompanied
with sympathy and und,~rstanding.
The second
suite from "Daplmis ct Chloe" closed an cntcrh
ilable for Concert-Oratorio
~aining
program.
,//
•
1am S. BRADY
KRAFT
TENOR
TMAN SCHOOL OF MUSIC
n
fI
nErbI
Warre
New
Friends of Music Orchestra, Fritz Stiedry, conductor, strengthened the good impression of the
week before. Dr. Stiedry is an excellent drill
master, producing splendid results with the little
chamber orchestra. The two Haydn symphonies,
the C major No. 90, of which no previous American performance is recorded, and No. 87 in A
major, as restored by Dr. Alf red Einstein, in this,
its first performance, proved to be as typically
Haydnesque as the symphonies heard previously.
Bach's concerto for three pianos and orchestra in
C major was played with fine tonal balance by
'N ebster Aiken, Frank Sheridan, and Rosalyn
Tureck.
Handel's Concerto Grosso No. 9 Op. 6 opened
the National Orchestral Association concert (I.eon
Barzin conducting)
at Carnegie Hall Feb. !.i.
vVebster Aitken, pianist, gave an adequate performance uf :Mozart's Concerto No. 15. His tune
bknded well with the orchestra. Elgar's popular
"Variations on an Original Theme" (Enigma)
was played warmly and with obvious joy. Thl'
dosing
selection, Brahms'
Academic
Festival
Overture roused a large audience to fervent applause.-H.V.S.
the Federal Opera Orchestra (Edgar
1 conducting) presented two soloists in
~art prngram. Julia Mahoney, soprano.
!ably arias from "The Marriage
of
1cl "II Re Pastore," and Judith Sidor•ianist in the D minor Concerto. :Miss
performance
revealed accuracy and
1ess. The Symphonies ~os. 36 and 39
11presario Overture completed the pro-
New York
Hans Wilhelm Steinberg, conducted the NBC
Symphony Mar. 4. In Bruckner's Fourth Symphony he proved to be a musician of enviable
accomplishments with facile technic and sure beat.
Stravinsky's "Fireworks," brilliant and crisp was
followed by Dukas' "The Sorcerer's Apprentice."
The program dosed with a joyous and vibrant
playing of Strauss' "Emperor" Waltz.-H.
V. S.
National Orchestral Association
I Orchestra's Features
------------------
Guest Conductor
New Friends Concert
I~ Second
In the Haydn-Bach Series, Mar. 5 the
Mar. 2-5. On Sunday Joseph Knitzery//J
Q re es~~raan
played the Chausson
"Poeme"
and'/,
UI lar
toesse
.a Tzigane." In the former he dis~la_Ye
Albert Stoessel prese1:ted a charming program,
one and the latter sl~owed '?nlltant
Mar. 4, with the Juilliard Orchestra. A more de11e young man was a cl11ld prodigy and
lightful performance
of Mendelssohn's
Italian
eopold Auer.
He later studied with
;inger at the Juilliard Graduate School.
on the N aumberg Award, the National
prize and the Schubert
Memorial
[r. Knitzer was given an enthusiastic
i
ed performance. Brahms' symphony was played
with unusual finish and understanding. and the
large audience responded with prolonged
applause.- J. V .H.
"Institute Concer~
1/
The Institute of Musinl Art Orchestra led by
Willem Willeke was heard Feb. 25 in the Act III
Prelude to "Lohengrin," Haydn's "London'' Symphony, Liszt's "Prometheus,"
and Brahms' First
~i~11~~1
~:t;_J _h~- yo~t!hft~( gr<?up wa s res ponsive to
Series
The fourth concert featuring
the Romantic
period in the Gabrila .vitsch Memorial
Series
took place Mar. 4 Rudolf Serkin, a newly chosen
member of the Curtis Institute, gave an outstanding performance
of Mendelssolm's
G minor
Piano Concerto, ablv assisted bv the orchestra and
Leon Barzin. Mr. Serkin play~cl the uld master piece with a technical perfection, marvelous tune
quality, and an intensity of feeling which have
won him an enviable place among pianists. The
orchestra presented Schumann's "1{anfred" Overture and Tschaikowsky's Symphony Nu. 5.
New St~ing Quartet .
Feb. 22, the N. Y. Philharmonic
Symphony
String Quartet (Mishel Piastro and Imre Poga11y,
first and second violins, Zoltan Kurthy, viola,
Joseph Schuster, 'cello), gave their initial concert. The :Mozart Quartet in C Major, opened
the program. In Schubert's Quartet in G Major,
Op. 161, the players seemed a little freer and not
so conscious of balance. Brahms' Quartet in C
minor, Op. 51 closed the program.
This !!CW
organization should certainly feel encouraged to
continue their endeavors.
The auditorium
was
completely filled ,dth an enthusiastic
audience.
* * "'
Bruno Walter, internationally
famous conductor and pianist, will direct the NBC Sym1,l10ny Orchestra in an all - Mozart program during his initial guest appearance
March 11.
* * *
The Music Counter, under the direction oi
Harold c-,tokes, presented Edna O'Dell. the Four
(~renadiers. and ~f icha el \\"ilkomirski
,·inlini,t
�JUILLIARD SCHOOL OF MUSIC
FIRE NOTICE
look eround NOW
end choose the exit
neerest to your seat.
In cese of fire, walk
(don't run) to that
exit. Do not try fo
beet your neighbor
to the street.
SEASON 1938-19:?9
ORCHESTRA
OF THE
JUILLIARD SCHOOL
ALBERT
OF MUSIC
STOESSEL, Conductpr
Soloists
FLORENCE PAGE KIMBALL..
.......Soprano
WEN DEL DIEBE.___
_ __
_ _ Pienist
MARCEL GRANDJANY -············-·····Herpist
J
SATURDAY EVENING,
MARCH
RED LIGHTS
INDICATE
EXITS
CONCERT HALL
130 Cleremont Avenue
NEW YORK CITY
4, 1939
�PROGRAM
SHEHERAZADE
Three Poems by Tristan Klingsor
Symphony No. 4 (ltalian) ......................................
............
....................................
.Mendelssohn
I . La Flute enchantee
2. L'lndifferent
3. Asie
Allegro vivace
Andante
con moto
Con moto moderate
Saltarello;
Presto
I. La Flute enchantee
My master sleeps ... his yellow nose hid in his snow-white beard.
II
Concert
But
I slip to the window and hear the flute of my beloved which awakes in
piece for Piano and Orchestra ......................•-·················Wendel
Diebel
THE COMPOSER AT THE PIANO
my heart a yearning to weep and to laugh. Each note takes wings and
flies to me ... touching my cheek in a mysterious kiss.
2. L'lndifferent
Intermission
111
Introduction and Allegro for Harp and Orchestra ............
......Maurice Ravel
Thine eyes are gentle like those of a girl - 0 unknown youth! The
song which you sing at my door speaks a language strange and charming - but false! Enter! and let my wine give you comfort. But no! You
pass on, and from my window I watch your tired and delicate figure
disappear.
MARCEL GRANDJANY
3. Asie
IV
Sheherazade,
Three Poems for Voice and Orchestra .............
..Maurice Ravel
Text by Tristan Klingsor
(a)
La Flute enchanteo
( b)
L'lndifferent
{c)
Asie
FLORENCE PAGE KIMBALL
V
Daphnis and Chloe, Suite No. ----Daybreak
Pantomime
_____
General
Steinway Piano
..
Dance
Maurice Ravel
Asia, Asia, Asia - land of wonderful tales and magic spells - fain
would I set forth in my little boat to an unknown port, and at night
unfurl my purple sail against a sky of gold. I long to see Damascus and
the cities of Persia - and gaze at dusky faces under silken turbans,
with their glistening teeth, and eyes filled with love and ecstasy. I long
to see the Cadis and Grand Viziers who, by raising their finger an inch,
grant life or death at their wish. Oh to see India and China - the fat
mandarins under their umbrellas - the exquisite princesses - and the
learned men discussing poetry and beauty - and then to rest in an
enchanted palace and contemplate the mystery of this land. To see
beggars and queens, and roses and blood, and men who die of love and
hate. . . . And then, returning home to relate the vision, like Sinbad
lifting an old Arabian cup to my lips, to interrupt the tale - with art.
�COLUMBIA.
485
BROADCASTING
.MA.DISON
AVENUE,
Wlc.KERSH.AM
SYSTEM.,
NEW
INC.
YORK
2-2000
May
eleventh
1
h1y dear
..J>.
9
4
0
Diebel:-
I will be rehearsing
tonight
and
therefore
will not be able to hear your
composition
at the Jullliard
Concert.
About July the first
you might let
me see the score of your work. My programs
are all made up to August the fifteenth,
and I .will be thinking
about the balance of
the season about July the first.
However, I must tell you that I do
not know how interested
I will be in another concerto as we are planning our series
without soloists.
Very sincerely,
4~/~~
Howard
Barlow.
Mr. Wendel Diebel
63 West ?0th Street
New York City, N.Y.
�,., -
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�15 July
Dear
1995
Jim,
I thoroughly
enjoyed
both
your
letter
and the program
notes.
I must congratulate
you on your writing •••• it is most readable
and informative
without
being
'heady'.
I've
always envied
those
who have writing
ability
••••• I don't,
although
I try
from time
to time.
I seem to be better
at lecturing
from brief
notes.
Oh well!
Re Deems Taylor.
I immediately
thought
of my friend
in Virginia
who wrote
a book on Mme. Samaroff
but was beaten
to the bat
by a former
student
of hers as far as publication
was concerned.
His
name.
Geoffrey
McGillen
613 Washburn Avenue
Louisville,
KY 40222
He has quite
a bit of information
on Mme. Samaroff
and Leopold
as follows:
After
contacting
Disney
a fair
archives.
amount
of
in connection
with his research
Stokowski.
His suggestions
are
him he suggests
contacting
the
Deems narrated
material
there
Fantasia,
depending
you happen
to make contact
with •••• I
on the testy
side.
Other suggestions:
This
should
The New York Public
Library.
The New York Music
The Brooklin
Public
Library
Library
of Musical
America
Old issues
of Musical
Leader
Old issues
of Musical
Courier.
get
you on track,
I would
understand
in Lincoln
Old issues
so there
on which
think.
they
Center.
Good luck!
might
be
archivest
are
a bit
�The Debussy Preludes
are in the process
of being put on a CD.
I'm most excited
about
the prospect,
though
the expense
will
be substantial,
I think
it worth it!
Then I do hope that
I'll
be able to complete
the digital
tape of the 80 birthday
program
I had planned,
but had to cancel •••• ½ of it is recorded,
so
I'm just
now getting
things
back under
the fingers,
and into
the brain!
As to the garden •••• I'm very frustrated
about
too rainy,
cold and wet, or so boiling
hot,
I
of the house until
the evening
coolness
sets
Still
have a flat
of annuals
to plant •••• maybe
Mark and family
are planning
of next
month •••• camping
on
couldn't
imagine
doing
that,
have been a delightful
idea!
So off
Etudes.
to
practicing
All the best,
and
what you've already
Ever
s incer _e _ly, _
the
please
done!
it •••• it's
either
refuse
to go out
in after
sunset!
today ••••• ! hope!
on driving
here
towards
the way.
I wish them
though
50 years
ago,
Ravel
ignore
Ondine
the
and
some of
suggestions
that
the
the end
1 uck !
I
it
would
Debussy
duplicate
�November 10, 1996
Dear Wend el,
Been some time since I've written, so am taking computer in hand
and beginning. My world of Deems Taylor keeps getting bigger as I reach
out to a variety of people. Have spoken to the son of Lawrence Tibbett
asking if he has recollections of his father's comments about his being in
The King's Henchman and Peter Ibbetson, the Taylor operas (No
recollection) and with others like Herbert Bayard Swope, Jr., son of the
executive editor of The New York World, the newspaper on which Taylor
became quite well known as a critic in "1921-1925. Have also become
most interested in Edna St. Vincent Millay, the librettist for The King's
Henchman.
Do hope that you are doing well in health and enjoyment of music.
Am sending along the notes I've done for tomorrow's concert here in
Danbury. Hope you enjoy them. The Liszt sonata must be a real bear to
play, but I did not find it generally appealing to listen to. I more and more
enjoy Schumann, a facile, melodic fellow indeed. Also sending along a
few of the poems that Taylor wrote in his early days as he was trying to
decide which way to go---writing or music. There is no doubt that
Franklin Pierce Adams (F. P.A.) had a great deal to do with moving him
into the literary and cultural circles that ultimately brought him the
commission from the Met to do his first opera.
We've had a very long Indian Summer and the past few days have been
sultry, rainy weather, but the skies are clearing now and the Canadian
Clipper is on its way. It will be cool soon. All the leaves are down pretty
well by now, with only the concern for the slipperiness of the wet leaves
on the road to keep us alert.
Well, with little more to say, I'll close now and hope to hear from you
when you have th _e opportunity. May your Thanksgiving and all the
Holidays prove happy and satisfying.
Sincerely,
�February
25,
1997
Dear Wendel,
I do hope this letter
finds
into that sense that spring
most mild winters
regarding
we're not complaining.
you feeling
better
and getting
is not far away. We've had the
snowfall
(way under normal) but
As I promised when I spoke to you, I'm sending you some of
the "essays"
I've been writing
about Taylor and his world.
My intention
is to keep writing
aspects
of his life and then
trying
to tie them together
in some way. The portions
of his
reviews while he was music critic
of The World give a clear
indication
of his fine style,
combining wit and insight.
No
one ever did it better.
He was a fine off-shoot
for James
Huneker whom he replaced.
The Disney/Fantasia
episode
should
give some insights
into how the movie was put together
and
the Barlow/Taylor
episode
is an expansion
of material
that
I had found in my Barlow work. Hope you enjoy them and please
do let me know what you think and what to do to improve them.
My style
is not journalistic
and tends toward the academic,
so I want to straddle
the line somehow. I will continue
on
this project
until ••••
Please do let
you up-to-date
All
the
best,
me know how you're
on my goings-on.
doing
and I promise
to keep
�July 28. 1997
Rev. Mark and Beth Diebel
P.O. Box 114
Columbiaville, NY 12050
Dear Friends,
Thank you for your kind note about my donation in memory of Wendel. I consider it one of the
great pleasures of the past ten years to have made contact with him and maintain a leisurely
correspondence. You may recall that it was through my research in 1992 on Howard Barlow, the
conductor, that I came across a 1938 photo of Wendel, Major Bowes and Barlow.I thought to
myself---ls it possible that Wendel Diebel is still alive? I made an assumption that he had gone
into teaching and through material available to me in our music library at Western Connecticut
State University (where I am a librarian), I zeroed in on him as a Professor Emeritus at Colorado
State University. I soon was speaking directly with him. He sent me copies of his recordings and
I have placed the CD of his Debussy preludes in our University collection.
One day he chose to send me the original score of his "Concert Piece," the composition he had
written and which he played coast-to-coast with Howard Barlow and the Columbia Symphony on
Sunday Afternoon, August 21, 1938. (It would later be played again on May 4, 1939 by Albert
Stoessel and the Julliard Orchestra again with Wendel as soloist.) I recall asking Wendel why he
chose to send me the original score. He said that because of Howard Barlow's impact on his life,
he thought it belonged with the Barlow material. I did not argue. Now, however, I do
strongly believe it belongs either with you or in the Music Library of Colorado State University (or
perhaps somewhere else that you believe appropriate.) When I am gone from the library here,
the connection with Wendel is gone, too. All the more reason it should be passed along. I do
hope you will inform me what you wish for this most unusual of musical forms of the wonderful
man.
I am also including a copy of the typewritten pages which he provided me with the score to
further elucidate the impact it had on his life. Howard Barlow had announced on the air in Spring
1938 that he would accept any new compositions from composers and should he find them
worthy, he would play them in the summer Sunday afternoon time slot that took over from the
vacationing New York Philharmonic. The name of the program was "Everybody's Music" and the
orchestra was the prime studio orchestra of the Columbia Broadcasting System.
My address is: 158 Brushy Hill Road, Danbury, CT 06810 and my phone is 203n90-8677 should
you wish to call. I look forward to hearing from you. Thank you again.
Sincerely,
James Pegolotti
�COLUMBIA. BRO.A.DC.A.STING SYSTEM, ING.
485
MADISON
NEW
WlaKERSHA.M
AVENUE
YORK
2- 2000
August 4th,
1938
Mr. Wendel Diebel
65 West 70th Street
NewYork, N.York
Dear Mr. Diebel:
I was delighted to learn from Mr.
Barlow that he is planning to play your
Piano Concerto on August 21st.
Will you kindly sign the enclosed release for our Copyright Division and return to me as early as possible.
Sincerely
(J
-
. ....
yours,
1-,.r~
h
JamJs =sett
m
Music Department
�COLUMBIA
BROADCASTING
485
MADISON
NEW
WioxERSHAM
SYSTEM,
ING.
AVENUE
YORK
2-2000
August 15 1 . 1938
Dear Mr. Diebel:
l
Mr. Rober} Simon, who writes the script for
Everybody s Music, is anxious to have some material on you and your Piano Concerto. Will you
oblige him a.nd me by sending him whatever material
you think will be useful.
Please send it special delivery to Robert A. Simon,
864 Central Avenue, Woodmere, Long Island.
I should
appreciate your letting me know that you have sent
this.
Very sincerely,
; ~1-r.f~
b
s
Mr. Wendel Diebel
65 West 70th Street
New York City
James H. Fassett
Assistant Director
Music Department
�✓
<'·"'
Dear Mr Simon,
Mr Fassett
wrote me this morning and asked me to
eend you some ma.teria.l on myself and my Concerto.
The only things of impGrtence about myself are the
facts tha.t I lta.Te 8tHR-a.-f•••ewellip-a••au,
lleld
a piano fellowsnip
for the past four years at the
Juilliard
Graduate sckool under Mme. Sa.mar0ff-Stokowsk,;
I 1\ave had n0 formal tra .ining in composition;
This is my first
work ieP-ePekeetPaR
in erigi~nal
arohestration,
and tke performance
on the 21st is
my first
appearance
with any orchestra.
I skould prefer
to have it announced as a. CONCERT
PIECE FOR PIANO A~ID ORCHESTRA,not a concerto.
Ae
i;-etaRee-Hew
You may wonder why I Rsk this.
It
will avoid many explanations,
because the pieee,
as it new stands and ae it will be broadcs .st sunday,
is not a e0mpmete concerto.
~R-etkeP-wePaay
It is
t~e fir5t
movement of a concerto
of wkich the second
and third moTeme.nte are now in the process
af being
written.
,e
TAe first
movement ie eomp~ete
easily
labled as sue~.
in itself
and ean be
Ast© tAe composition
itself.
It is in free eonata
form, with no definate
key sckeme, although
the keyfeeling
ia C minor.
The 0utline
of the form ie as
fellews:
Orekemtral
intredecti0n
in whick the motive is introduced.
Piano introduction
wi.ich lea .ds to tlte firet
therae
stated
by the piano and extended by the orcheetra
in
coordination
with the m0tive.
Second theme ~tRted by the erche3tra
and extended by
the piano.
DeTel0pment 15eet ion of the first
theme lea .ding te
the recapitulation.
Firs t theme stated
by the orchestra
with piane figuration
epi~ode t6 cadenaa.
Cadenza for piano ie a fugal deTelopment
of t~e eeeend
theme di~iniehed
w~ic~ leads te the final C~da.ending
in
C ma.jor.
�TRACES.
RAILROAD
AUDITOR-RETIREDL_,
739
DES
DUPLICATE
CRIBBAGE
-
Is
THE
FORD
44TH
STREET
MOINES,
WORLD
,,.,,/
-<~- Jo
IOWA
•s
NEWEST
AND
GREATES
T
CARD
GAME
���1
i
l
\
l
\
�J'
·'
605 South Fourth St.,
Columbia, Mis s ouri.
April 2, 19~9.
r ear
1
v;endel:
;.J.lo vI mL- to introduce
:n;,-self,
I am Iugene ·\ amsa;r, son of W. C. R.:..msay
who is a. ver: ,- good frienq_ of Lr . T. S. Ford of Des :-::oines.
Perhaps
~~
r. Fore ~1as r:-rit 1Jen :,~ou ;.)_
tout me. I 2,J:1 r.t1.ic.., ing music here c.t t t e
Universi ·\~.-of !'ilissouri
.L""'lan
n ing tJ 'be a music theorist,
but a.lso
11
&JD stud.,, ing
-iano::
::.
.nd
h0
_
e
to
be
at
leaE;t
"so
rrim
'..r
hat
o
f
b • .t i b.nist
1
somed&~/.
V.1-:i.en rn:
: fLther told
to maJ<e c.. c.:..ree:r out
:Ir.
Foro . he had a son r.iajo rin g in r.iusic e.nd l-'l anning
of it, ~.Ir. Ford bec P.me i nt eres te d in me and
·wanted t.o Fee me get ths .,_..,
ro.l._,er training.
He 1--,;anted to see me go
to a good f'C~1ool of rnusic--he
Y-:antsd to s ee ms go to Jul t lP .rd just
as· he ·hr ..d seen :.~01... do.
So, &s soon as it
t. s ...
-os::.:ible , it w s
arrn .n2e · for me · to meet .t:~
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I ..?l&~
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firs t oo ve .mt=nt of a Be-ethoven t:.onata :-mC.then t1 :ree of m" ovm
CO!J_.
.osit i:, ns.
;Jr. fQrd :;,~es_ onded ver~ ,r f c.1.
v ou rubl~r(:r.n_;_ch to m.:,,
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t he- v:anted w:1 to meet .;-ou as s o n· i..'.
S tni: t coulr: . be arT ang ed .
JJm~·., r,j,/r idec~, .::.
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was to ~i.S.jor in C, rr.J.c::siti on,
t ut ~.:r •. ford thinks t _;;1.
t I' m 1.,1 nt~- L ood. r:-nou' ,h to go a.:1ead on t~e
_Ji:::.no-- ~v:1{ ch I ..;oci.d rat ~1eJ~do in the ev ent th ;:;t I am bcod e::iou;:-h.
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ntunber's i t t~!e fir:=t mover.•::nt
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tl'J lll'S d; i l ,/ t l" i~ s u·1m:-::- an d I be lieve
I c otll d 6 et t ~"e · oVJ.ers u .1:-'in
sha.1:,e. I would a ...
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: ·i th :tou. ri)it
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I v:cul d fe e l. s o r:mc h ;:-:or 6 c onf id ent if ~-au ~-,:l s o -v;r,uld rcP ...ond fr1..vcu rabl ;.r.
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�����De SCHUILPLAATS
PLANTING FIELD WAY
EDGARTOWN, MASSACHUSETTS
August 22nd,
1 9 3 8
Dear Tlendel,
-
It ""•
,a s a1.vfully nice to get your
two letters
vrith the good ne vm about your Concerto!
I am sori--y to tell
you tho',
old man, that we a.id
not hear it,
for,
in the first
place we have no
radio here this year (no$ that that would make any
difrerence,
because
,re have access
of course
to all
1
the machines
v:re ·wantt),
anc1 moreover
:.re ·were not at
home at the time of the broadcast,
but 11way up-islancl1'.
Very much too bad, for I would have loved
to hear it.
Hell, I'll
see it soon.
How did it
go?
Gopd, I hope.
Are you ·writing
something
else
now?
Keep it up.
Frisch
D'rauf
loskomponieren1
You've had to vm.it ouite a while
for this ans-wer, vrhat?
I am sorry;
but your letter
"got snowed under"
on my desk, where I :round it yesterday
to my mortification
for, primo,
I had not
given you a sign of life
and, secundo,
I could not
hear your work, alas!
The reason your first
epistle came back from the west is, by the way, a simple
one.
I vras not in Boulder
bu·t in Colorado
Springs
at the Colorado
College.
So that's
Hhat.
'.fell,
fore
long.
us back
hone!
wish,
in
This
\Jendel.
some for
mein Lieber,
is
yourself
not
a Tu.9
.sty
crack,
but
Give our best to Charles,
as well.
Au revoir.
As ever
,._
·we'll
see
you be-
'I1he end of' ,September
i:·rill probably
see
t h e bi g city,
and 'T:re'll meet at school,
I
yrs,
a sincere
a:na. take
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MOINES.
IOWA.
DISflUBUTC S O 'H1E LI COLM LI R.AR.Y
OF ESSE TIAL llU'O~~ ......l'lOK
R. L. WARNER,
215
SECURITIES
MANAGER
BLDG
.
DES MOINES, IOWA,
TEL . 3-2949
August 22, 1938
Kr. Wendel Diebel
63 w. 70th Street
lew York City, Hew York
Dear Wendel:
You have no idea bow delighted and thrilled
we all were to
hear you play over the Columbia Betwork yesterday afternoon.
Everything about your presentation
of the music played was
marvelous.
We are
all
sure-"1ihat
verence, hewing to
future as you have
will come when you
standi~
msicians
Kindest
myself.
personal
by
a continuation
of the - bard
work, perse-
the line, during the immediate years of the
done so excellently
in the past, the time
will rank as one of the most permanently outthat America ever produced.
regards
and best wishes from the family and
�:
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�MONROE
GILBER
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Dear Sirs:
When ever
worthwhile
all,
but
music
the
time
I can get
Sunday the music
composer
written
I can find
was e·ape cially
a _ "[_an" letter
ition
will
the radio.;
distinctive
before
and enjoy
Ameriean
. . I have n~ver .
but
should
I do hope that
be repeated.
over
to every
of Mr. Debble(?)tne
work of our own composers
encouraged.
I listen
this
Has it
I fee L t.h8t
the
be noticed
and
partic~lar
compos-
been put
into
a
re cording?
Sincerel~N'•
FRAMING
CRAFT
WORK
GILBRETTES
ETCHINGS
PRINTS
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1317 st. Clair Avenue
East St. Louis, Illinois
August 25, 1938
Columbia Broadcasting
York City
"Everybody's
Music"
System
New
Gentlemen:
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I would like to take this opportunity
to express my
admiration
and pleasure
on hearing Mr. Diebel 1 s "Concert
Piece for Piano and Orchestra"
programmed on last Sunday's
concert.
This is the first
time that I have ever written
to
your program, but this composition
aroused my enthusiasm in
a very definite
way. In my o~pinion,
it is the only new work
yet played on your programs of this season that was really
worthy of your time and effort.
The other new works were,
for the most part, merely an incoherent
and inharmonious
attempt to imitate
the modern impressionistic
composers.
To me the Diebel work was original,
melodious,
and refreshingly spontaneous.
He is indeed to be congratulated
and I,
for one, will eagerly await more from him.
Sincerely,
Bernard
C. Laye
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�120 Church Street,
Belzoni, Mississippi,
21. viii.
1938.
My dear Mr.Diebel:
I am not accustomed to the writing
of "fan" letters;
and I always find them a little
embarrassing.
I feel that
I should apologize because my letter
must come as the
intrusion
of a stranger~
But I should be ungrateful
if
I did not express to you my thanks for your "Concert Pi 'ece"
a~d for your performance of it this afternoon.
lv1yinterest
in music is that of a complete amateur
(like my interest;
in all the arts except poetry).
But
my interest
is no less real for being so.
During the la s t
few years I have seen with great interest
the work of young
painters
ana read with great interest
the work of new poets.
But I could not kno~• 'IJl'hat my contemporaries
among musi c ians
•~
Jere doing-- except in the cases of the few whom I know
personally-simply. becaus .e their work 11\rasnot given in
concerts
available
to ~e.
This gap has disturbed
me a good
deal.
And, in filling
it, the commissioned works perfoirmed
this summer have done me a very real service.
Of all the
works that I have heard by young American composers, however,-both on the Columbia series and elsewhere-yours is by! f ar
the most ex~iting.
There will
of talk about "influences",
that I detected
a couple of
influences-whichI shan't name because it does not see.l!Ilto
matter.
The important · question to ask about an influence
in
music, it seems to me, is the same one which it is important
to ask about an influence
in poetry:
Is the influence
as~imilated?
In other words: Are the borrowed effects
fuw ~tional
in the work? This ought to be a commonpla~e; otherwise,
no real tr·adi tion i s possible,
in any art.
.out cri tie al
practice
too often neglects
this fact.
In your case, atan y
rate,
sueh influences
as.._
are (and they are good ones)
I suppose;
be a great
ca.nd, indeed,
deal
I thought
~
are really
assimilated;
they really
fun ction to helo a,-:!
hie ve
an effect
1.vhich i s your own, and an effe ct that is ;Jort h
oothering
about.
I congratulate
you upon a very fine composition.
And I
shall look forward to heari ng b. great de al more of yourwor K
in the future.
You ha.ve my very best wishes.
fj in c erely
11
yours
tlA ... .,.. ,· ,, . •
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Dear Mr. Neleigh:
Bizet's First Symphony, played on the Aucust 21st Everybody's
Music procram. is one of
the most thoroughly
enjoyable
I have heard.
·
Wendell Diebel's
composition
is in many
ways more inspirational
than tho•-Eof the old
masters.
I want to thank you for the enjoyment
your splendid progragi-iHglrlffo§g~is~e.
Janet Spancler
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�Q.AssOP SER.VICE
This is a full-rate
Tele~
or Cable·~
- unless its de- .
Ierred character is indicated by a suitable
symbol above or preceding thc1lddress.
TO}
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NORTHEAS
.THARBOR
; WENDEL
DIEBEL=
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. 63 WEST 70 ST~~
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MANY
CONGRATULATIONS
ON A flNE PER~ORMANCE
0F A FIME~·-·
CONCERT~ -~~:·,:-•
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MADEIRA
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THE QUICKEST.Sl:lRESTAND SAFESTWAYTO SEND MONEYIS BY TELEGRAPHOR CABLE
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�'-,
�Sunday, ~ugust
21, 1938
Dear Columbia:
Heard Wendell Diebel
Music"
and think
11
on
Everybody'E
he was grand.
proud of him, and thanks
for giving
him a chance.
are always
enjoyed
Iowa is
you very much
Your programs
in my home.
W. V. Hart, Sac City, Iowa
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Dear Sir:
I enjoyea Y.r. ·Diebal's
composition not - a
lit, tle. I c;an say, . i 1., .i. s among 1:,ne r1rst, modern
class1~s I nave ·enjoyea.
Wny have not, sucn :r·1ne se.Lec e,ions as
~:_·\ - Mendelssohn's Scot-ch Symphony ana h1s F1ng~l ts
<.,;aveMusmc been heard J.at.ely. May I also
request,
Orpheus' Balle<&, Scnene1·azaue, anu
BeeLhoven's F1r~h Sympnony. Tnank you.
J~sse Bc:.~:.:·s
G712 <.,;helsea Terrace
BalLimoi•t:,
Ma.i.·y-1.ano.
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Gentlemen:
.
-•
55 Clay Ave.
__ Roch~ster, N.Y•
Ir.
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·I very much en.Joii:d MC ·n1.el)el' s ( 'l) ·
Concert Piece tor Piano · antl-Orcbest•a,
and feel
that the work shows great i,romise.
The work
showed a vigorous imagination and a deft handling
of the balance between piano and orchestra,
but 1; left me with the feeling that it was
all technique.
He had not felt the music; it
was more nearly a mathematical
problem than the
emotional expression of somethint experienced
which is the mark of all music that touche s us.
Technically-**HEmotionally-*
W.J.Comery
�THIS SCORE IS THE ONE THAT HOWARD
BARLOW
CONDUCTED
FROMON THE "EVERYBODY'SMUSIC"
BROADCAST,SUNDAY, AUGUST21,
1938,
OVER
THE CBS NETWORK.
--
THE RED CORRECTIONSAND CHANGESARE THOSE
SUGGESTEDAND INCORPORATEDBY MR. BARLOW.
THE PURPLE INDICATIONS ARE EITHER HIS CUES,
OR THOSE OF ALBERT STOESSEL, WHOCONDUCTED
THE WURKIN THE SPRING OF 1939.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Howard Dunham Barlow Collection, MS 001
Abstract
A summary of the resource.
summary: Howard Dunham Barlow was a radio pioneer, musician, composer, arranger and conductor. The Howard Dunham Barlow Collection consists of correspondence, newspaper and magazine clippings, recordings, original compositions, published choral arrangements, CBS program logs, scrapbooks, oral history, orchestral arrangements and works, prospective scripts, reviews of concerts, phonograph records, photographs, and writings.
Creator
An entity primarily responsible for making the resource
Barlow, Howard, 1892-1972.
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms001_barlow.xml">Link to finding aid.</a>
IIIF Collection Metadata
UUID
684f7788-8b70-464a-b7a6-9309c082178a
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Wendel Diebel related correspondence
Creator
An entity primarily responsible for making the resource
Diebel, Wendel
Pegolotti, James A.
Barlow, Howard, 1892-1972
Description
An account of the resource
149 pgs
Abstract
A summary of the resource.
Correspondence roughly in reverse chronological order, documenting "Windy" Diebel's appearance on Barlow's music program and subsequent correspondence with James Pegolotti regarding Barlow.
Date
A point or period of time associated with an event in the lifecycle of the resource
1938-1996
Subject
The topic of the resource
Diebel, Wendel
IIIF Item Metadata
UUID
256e0aed-1f73-4a6b-8c47-dcc445857262
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Howard_Dunham_Barlow_Collection_MS_001/6690/ms001_06_01_001.jpg
4321113ae63cf0eb076fa7f0c00f2600
https://archives.library.wcsu.edu/omeka/files/original/Howard_Dunham_Barlow_Collection_MS_001/6690/ms001_06_01_002.jpg
38607c82349c1f3d7070dbf6de721692
https://archives.library.wcsu.edu/omeka/files/original/Howard_Dunham_Barlow_Collection_MS_001/6690/ms001_06_01_003.jpg
6e0da4882bd39fb659cd83fa787bbe7a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Howard Dunham Barlow Collection, MS 001
Abstract
A summary of the resource.
summary: Howard Dunham Barlow was a radio pioneer, musician, composer, arranger and conductor. The Howard Dunham Barlow Collection consists of correspondence, newspaper and magazine clippings, recordings, original compositions, published choral arrangements, CBS program logs, scrapbooks, oral history, orchestral arrangements and works, prospective scripts, reviews of concerts, phonograph records, photographs, and writings.
Creator
An entity primarily responsible for making the resource
Barlow, Howard, 1892-1972.
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms001_barlow.xml">Link to finding aid.</a>
IIIF Collection Metadata
UUID
684f7788-8b70-464a-b7a6-9309c082178a
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Howard Barlow and Major Edward Bowes (standing) with Wendel Diebel
Creator
An entity primarily responsible for making the resource
Columbia Broadcasting System, Inc.
Description
An account of the resource
8x 10", black and white photoprint, and verso caption. 1 note.
Abstract
A summary of the resource.
Wendel Diebel was a guest on Howard Barlow's show having won a competition among young composers.
Date
A point or period of time associated with an event in the lifecycle of the resource
1938
Subject
The topic of the resource
Barlow, Howard, 1892-1972
Diebel, Wendel
Bowes, Edward, Major, 1874-1946
IIIF Item Metadata
UUID
304358b6-563e-405f-b601-14bac011932f
-
https://archives.library.wcsu.edu/omeka/files/original/Howard_Dunham_Barlow_Collection_MS_001/5946/ms001_10_55_HowardBarlowSings.mp3
33ec0923ca5a81f066979982d2e3a66d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Howard Dunham Barlow Collection, MS 001
Abstract
A summary of the resource.
summary: Howard Dunham Barlow was a radio pioneer, musician, composer, arranger and conductor. The Howard Dunham Barlow Collection consists of correspondence, newspaper and magazine clippings, recordings, original compositions, published choral arrangements, CBS program logs, scrapbooks, oral history, orchestral arrangements and works, prospective scripts, reviews of concerts, phonograph records, photographs, and writings.
Creator
An entity primarily responsible for making the resource
Barlow, Howard, 1892-1972.
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms001_barlow.xml">Link to finding aid.</a>
IIIF Collection Metadata
UUID
684f7788-8b70-464a-b7a6-9309c082178a
Sound
A resource whose content is primarily intended to be rendered as audio.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Creator
An entity primarily responsible for making the resource
Barlow, Howard, 1892-1972
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1940
Description
An account of the resource
3 min., cassette
Format
The file format, physical medium, or dimensions of the resource
mp3
Title
A name given to the resource
Howard Barlow Sings cassette
Type
The nature or genre of the resource
Sound
IIIF Item Metadata
UUID
33f03bdf-1010-4cff-bf2b-15e41447ab44
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Howard_Dunham_Barlow_Collection_MS_001/5945/ms001_10_55_1948a.mp3
39c8fcc772c6c89ea96e4cf345b33164
https://archives.library.wcsu.edu/omeka/files/original/Howard_Dunham_Barlow_Collection_MS_001/5945/ms001_10_55_1948b.mp3
45bead5aa45fd61093fe051e1f8bdc9d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Howard Dunham Barlow Collection, MS 001
Abstract
A summary of the resource.
summary: Howard Dunham Barlow was a radio pioneer, musician, composer, arranger and conductor. The Howard Dunham Barlow Collection consists of correspondence, newspaper and magazine clippings, recordings, original compositions, published choral arrangements, CBS program logs, scrapbooks, oral history, orchestral arrangements and works, prospective scripts, reviews of concerts, phonograph records, photographs, and writings.
Creator
An entity primarily responsible for making the resource
Barlow, Howard, 1892-1972.
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms001_barlow.xml">Link to finding aid.</a>
IIIF Collection Metadata
UUID
684f7788-8b70-464a-b7a6-9309c082178a
Sound
A resource whose content is primarily intended to be rendered as audio.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Creator
An entity primarily responsible for making the resource
Barlow, Howard, 1892-1972
Date
A point or period of time associated with an event in the lifecycle of the resource
1948
Description
An account of the resource
60min., cassette
Subject
The topic of the resource
Steber, Eleanor
Thomas, Thomas L.
Title
A name given to the resource
"Voice of Firestone" cassette
Type
The nature or genre of the resource
Sound
IIIF Item Metadata
UUID
2037fdbb-f255-49dd-b207-4b40ef2ec7db
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Howard_Dunham_Barlow_Collection_MS_001/5941/ms001_10_55_1938a.mp3
cf02cb31e3e8f78bebbaf864db18c62d
https://archives.library.wcsu.edu/omeka/files/original/Howard_Dunham_Barlow_Collection_MS_001/5941/ms001_10_55_1938b.mp3
e9dd10e8d630ca391a30c217db9ccd3b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Howard Dunham Barlow Collection, MS 001
Abstract
A summary of the resource.
summary: Howard Dunham Barlow was a radio pioneer, musician, composer, arranger and conductor. The Howard Dunham Barlow Collection consists of correspondence, newspaper and magazine clippings, recordings, original compositions, published choral arrangements, CBS program logs, scrapbooks, oral history, orchestral arrangements and works, prospective scripts, reviews of concerts, phonograph records, photographs, and writings.
Creator
An entity primarily responsible for making the resource
Barlow, Howard, 1892-1972.
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms001_barlow.xml">Link to finding aid.</a>
IIIF Collection Metadata
UUID
684f7788-8b70-464a-b7a6-9309c082178a
Sound
A resource whose content is primarily intended to be rendered as audio.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Date
A point or period of time associated with an event in the lifecycle of the resource
1938
Description
An account of the resource
60 min., cassette
Subject
The topic of the resource
Steber, Eleanor
Crooks, Richard, 1900-1972
National Broadcasting Company
Firestone, Harvey Samuel, 1868-1938
Title
A name given to the resource
"Voice of Firestone" cassette
Creator
An entity primarily responsible for making the resource
Barlow, Howard, 1892-1972
Abstract
A summary of the resource.
Recording from acetate of a February 1938 episode in memory of the life of Harvey Firestone.
IIIF Item Metadata
UUID
66e2f269-a43b-4f28-a532-85fcde61977f
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Howard_Dunham_Barlow_Collection_MS_001/1977/011.jpg
405181fbcb76cdfa54bdcc7799ad19e0
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Howard Dunham Barlow Collection, MS 001
Abstract
A summary of the resource.
summary: Howard Dunham Barlow was a radio pioneer, musician, composer, arranger and conductor. The Howard Dunham Barlow Collection consists of correspondence, newspaper and magazine clippings, recordings, original compositions, published choral arrangements, CBS program logs, scrapbooks, oral history, orchestral arrangements and works, prospective scripts, reviews of concerts, phonograph records, photographs, and writings.
Creator
An entity primarily responsible for making the resource
Barlow, Howard, 1892-1972.
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms001_barlow.xml">Link to finding aid.</a>
IIIF Collection Metadata
UUID
684f7788-8b70-464a-b7a6-9309c082178a
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Barlow Publicity Portraits
Subject
The topic of the resource
Barlow, Howard, 1892-1972
Description
An account of the resource
8 x 10 b&w contact sheet
Source
A related resource from which the described resource is derived
[box 6, folder 26]
Date
A point or period of time associated with an event in the lifecycle of the resource
1950s
IIIF Item Metadata
UUID
6c1cb04f-0a43-4ac5-a446-fb23e5715295
Broadcasting
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Howard_Dunham_Barlow_Collection_MS_001/1976/010.jpg
2434bff473a5707e10f63e9b8f84778b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Howard Dunham Barlow Collection, MS 001
Abstract
A summary of the resource.
summary: Howard Dunham Barlow was a radio pioneer, musician, composer, arranger and conductor. The Howard Dunham Barlow Collection consists of correspondence, newspaper and magazine clippings, recordings, original compositions, published choral arrangements, CBS program logs, scrapbooks, oral history, orchestral arrangements and works, prospective scripts, reviews of concerts, phonograph records, photographs, and writings.
Creator
An entity primarily responsible for making the resource
Barlow, Howard, 1892-1972.
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms001_barlow.xml">Link to finding aid.</a>
IIIF Collection Metadata
UUID
684f7788-8b70-464a-b7a6-9309c082178a
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Kuwait visitors
Description
An account of the resource
8 x 10 b&w
Abstract
A summary of the resource.
Photograph taken during a tour of the NBC Radio and Television Studios on Aug 24, 1953 by Their Excellencies Shaikh Jaber Ahmad Al-Subah, Sayyid Ezzat Gaafar and Morad Behbehani of Kuwait (from caption).
Source
A related resource from which the described resource is derived
[box 6, folder 22]
Date
A point or period of time associated with an event in the lifecycle of the resource
1953
IIIF Item Metadata
UUID
3d4f840e-8005-424f-8e39-7dc8168ec1c7
Broadcasting
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Howard_Dunham_Barlow_Collection_MS_001/1975/009.jpg
59134569d3bf0c03695a5a5bfa496b6c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Howard Dunham Barlow Collection, MS 001
Abstract
A summary of the resource.
summary: Howard Dunham Barlow was a radio pioneer, musician, composer, arranger and conductor. The Howard Dunham Barlow Collection consists of correspondence, newspaper and magazine clippings, recordings, original compositions, published choral arrangements, CBS program logs, scrapbooks, oral history, orchestral arrangements and works, prospective scripts, reviews of concerts, phonograph records, photographs, and writings.
Creator
An entity primarily responsible for making the resource
Barlow, Howard, 1892-1972.
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms001_barlow.xml">Link to finding aid.</a>
IIIF Collection Metadata
UUID
684f7788-8b70-464a-b7a6-9309c082178a
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Promotional Shot, Voice of Firestone
Subject
The topic of the resource
Voice of Firestone (Television program)
Description
An account of the resource
8 x 10 b&w
Abstract
A summary of the resource.
Promotional glossy for the Voice of Firestone telecast
Source
A related resource from which the described resource is derived
[box 6, folder 29]
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1950
IIIF Item Metadata
UUID
2438d63e-3688-4973-827e-1c99678c50be
Broadcasting
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Howard_Dunham_Barlow_Collection_MS_001/1974/008.jpg
f6f880a97c4ff163308740483499520a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Howard Dunham Barlow Collection, MS 001
Abstract
A summary of the resource.
summary: Howard Dunham Barlow was a radio pioneer, musician, composer, arranger and conductor. The Howard Dunham Barlow Collection consists of correspondence, newspaper and magazine clippings, recordings, original compositions, published choral arrangements, CBS program logs, scrapbooks, oral history, orchestral arrangements and works, prospective scripts, reviews of concerts, phonograph records, photographs, and writings.
Creator
An entity primarily responsible for making the resource
Barlow, Howard, 1892-1972.
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms001_barlow.xml">Link to finding aid.</a>
IIIF Collection Metadata
UUID
684f7788-8b70-464a-b7a6-9309c082178a
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Full Studio Shot with Nadine Connor
Subject
The topic of the resource
Connor, Nadine
Voice of Firestone (Television program)
Description
An account of the resource
8 x 10 b&w
Abstract
A summary of the resource.
Shot with audience, orchestra and singers. Caption says "with Nadine Connor"
Source
A related resource from which the described resource is derived
[box 6, folder 21]
Date
A point or period of time associated with an event in the lifecycle of the resource
1954
IIIF Item Metadata
UUID
dc69a9f0-e65e-4565-a2a1-fb0ee6f3b628
Broadcasting
Music
-
https://archives.library.wcsu.edu/omeka/files/original/Howard_Dunham_Barlow_Collection_MS_001/1973/007.jpg
cfb3448005082716bd3b358a1d7ddda5
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Howard Dunham Barlow Collection, MS 001
Abstract
A summary of the resource.
summary: Howard Dunham Barlow was a radio pioneer, musician, composer, arranger and conductor. The Howard Dunham Barlow Collection consists of correspondence, newspaper and magazine clippings, recordings, original compositions, published choral arrangements, CBS program logs, scrapbooks, oral history, orchestral arrangements and works, prospective scripts, reviews of concerts, phonograph records, photographs, and writings.
Creator
An entity primarily responsible for making the resource
Barlow, Howard, 1892-1972.
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
<a href="https://archives.library.wcsu.edu/findingaids/ctdbn_ms001_barlow.xml">Link to finding aid.</a>
IIIF Collection Metadata
UUID
684f7788-8b70-464a-b7a6-9309c082178a
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Howard Barlow and Paul Whiteman
Subject
The topic of the resource
Whiteman, Paul, 1890-1967
Description
An account of the resource
3 x 4.75 b&w
Abstract
A summary of the resource.
Whiteman's father (Wilbeforce) had been Barlow's teacher in in Denver
Source
A related resource from which the described resource is derived
[box 6, folder 2]
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1945
IIIF Item Metadata
UUID
be0f7afc-947c-41be-9e69-092afaf78514
Broadcasting
Music