Converted to EAD3 : Encoded Archival Description (EAD), Version 3 : Release: 1.1.1 : Release Date: 2019-12-16. Validating against latest version of schema.
Contact information: https://hdl.loc.gov/loc.music/perform.contact
Catalog Record: https://lccn.loc.gov/2003561015
Collection material in English
The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically.
Some manuscripts; Gift; Aaron Copland; circa 1940-1970.
Bulk of the collection; Gift; Aaron Copland; 1989.
Some manuscripts; Gift; Nadia Boulanger estate; July 18, 1980 and March 6, 1981.
Libretto material for
Some manuscripts; Gift; Bennett Lerner.
No further accruals are expected.
The Aaron Copland Collection was processed by Virginia Chang, Carol Lynn Flanigan, Wilda Heiss (Music Specialist), Albert Jones, Jonathan Kulp, Melchor de Medinaceli, Peggy Monastra, Lloyd Pinchback (Music Specialist), Loras Schissel and Deanna Whitsitt, April 1995. The finding aid was originally created using Word Perfect 5.1 software. The final formatting was begun by Stefan Patejak in 1995 and completed by Michael A. Ferrando, November 2002. In 2002, Michael A. Ferrando coded and edited the finding aid for EAD format. Janet McKinney made additions to the finding aid in 2016.
A special thank you to Daniel Mathers for his invaluable assistance during the editing of the Music Manuscripts and Printed Editions by Aaron Copland.
Sound recordings and moving images were transferred to the Library of Congress Motion Picture, Broadcasting and Recorded Sound Division where they are identified as part of the [Aaron Copland Collection] (MAVIS collection no. 9416).
Selected books from Copland's library were transferred to the Library of Congress Rare Book and Special Collections Division.
1154 published scores by North and South American composers (not including Copland) are located in the Performing Arts Library at the New York Public Library. Microfilm is available in the Library of Congress Performing Arts Reading Room: Microfilm 93/20010.
The status of copyright on the materials of the Aaron Copland Collection is governed by the Copyright Law of the United States (Title 17, U.S.C.).
The Aaron Copland Collection is open to research. Researchers are advised to contact the Performing Arts Reading Room prior to visiting. Many collections are stored off-site and advance notice is needed to retrieve these items for research use. Certain restrictions to use or copying of materials may apply.
Digitized images along with identifying information and a narrative introduction are also available through the Library of Congress Web site under the title: The Aaron Copland Collection at http://hdl.loc.gov/loc.music/collmus.mu000006 .
Researchers wishing to cite this collection should include the following information: container number, Aaron Copland Collection, Music Division, Library of Congress, Washington, D.C.
The Aaron Copland Collection consists of published and unpublished musical scores by
Aaron Copland and other composers, correspondence, writings, biographical material,
datebooks, journals, professional papers including legal and financial material,
photographs, awards, art work, and books. The collection spans 1841 to 1991 and
covers six aspects of Copland's life -- composer, performer, teacher, writer,
conductor and administrator for various organizations -- from about 1911, when he
penned his first musical composition
The
The
The
The
In most cases, the evolution of the final printed words for Copland's published
books can be traced, though difficult at times because of his revisions, from the
handwritten manuscript to the final typescript, beginning with the 1939 first
edition of
Copland's earliest lectures began at the New School for Social Research with
Copland quickly embraced the new mediums of radio and television. His radio talks
apparently began in the United States in 1936 for the CBS "Modern Music" series and
continued until the 1976 statements for the BBC at the time of Benjamin Britten's
death. He also frequently spoke on radio stations while on tour in various foreign
countries. In the United States, he presented a series of fifty-two programs on
WNCN,
The
The
The
The
The
The
The Engagements represent correspondence and other material between organizations for which Copland performed, spoke or conducted, or from whom he was bestowed an award or honor. The organizations include orchestras, universities and colleges, festivals, museums, and societies. The most notable events are his trips to Latin America in 1941 and 1947 and his frequent appearances with the London Symphony, New York Philharmonic, and National Symphony orchestras.
The
Three of the four scrapbooks focus on specific undertakings by Copland -- the Copland-Sessions Concerts from 1924 to 1931, the Yaddo Festivals from 1932-33, and the 1978 Australian tour for which he conducted and lectured. The other scrapbook represents the beginnings of Copland's clipping file from 1924 to 1942. All, but the Australian tour scrapbook, have been preserved on microfilm because of their fragile condition (Microfilm 93/20002 Mus); the original of these three volumes will not be served to the public.
The
The
The
The
A large portion of the photo images were taken by Copland's life-long friend, the professional photographer, Victor Kraft (1915-76). Among the images produced by Victor Kraft are luminaries of the American music scene from the first half of the twentieth century, including Leonard Bernstein, Marc Blitzstein, Paul Bowles, David Diamond, Lukas Foss, Serge Koussevitzky, Walter Piston and the Tanglewood Music Festival during the 1940s. In fact, a significant amount of items correspond or overlap between this series and the Victor Kraft Materials series. Illustrious photographers represented include Margaret Bourke-White, Irving Penn, Gordon Parks and Carl Van Vechten, among others. If photographic credits are not given, the photographer is, as yet, unidentified. See the Explanation of Code System for Photographs at the end of the series.
The
The bulk of the photoprints and negatives document Kraft's travels in Mexico in the 1930s [and/or 1950s?] and in Brazil from 1951-53. Notable subjects include formal and informal portraits of Aaron Copland, and portraits from the 1940s and 1950s of numerous composers and performers of the American music scene, including Leonard Bernstein, Paul Bowles, Edwin Denby, Lukas Foss, Erik Johns, William Kapell, Dmitri Mitropoulos, and Robert Shaw. The Tanglewood Music Festival during the 1940s is also well represented with many historically interesting images to be found in the photoprints, as well as the contact sheets and negatives. Photoprints by other prominent photographs are represented -- Cecil Beaton (portraits of Victor Kraft and a self-portrait photocard), Ronny Jaques (a signed portrait of Carson McCullough), and Carl Van Vechten (1935 portraits of Victor Kraft). All other images are assumed to have been created by Victor Kraft unless otherwise noted. Of other interest are the series of letters to Kraft from Paul Bowles, and a sampling of Kraft's original negative sleeves which reveal insights into his systematization and methodology. See the Explanation of Code System for Photographs in the Victor Kraft Materials at the end of this series.
The
Wilda Heiss and Lloyd Pinchback, April 1995
Wilda Heiss and Lloyd Pinchback, Music Specialists, Revised 2000
Processed by: Virginia Chang, Carol Lynn Flanigan, Wilda Heiss, Albert Jones, Jonathan Kulp, Melchor de Medinaceli, Peggy Monastra, Lloyd Pinchback, Loras Schissel and Deanna Whitsitt.
Formatted by: Stefan Patejak (1995) and Michael A. Ferrando (1995, 2000)
Acknowledgment: A special thank you to Daniel Mathers for his invaluable assistance during the editing of the Music Manuscripts and Printed Editions by Aaron Copland.
The Aaron Copland Collection is organized in thirteen series:
The Music series is divided into two subseries: Music by Aaron Copland and Music by Others. The Music by Aaron Copland represents almost all of the entire musical creation of Copland beginning with the early, youthful student works and ending with the short piano pieces in the seventies and eighties. The Music Manuscripts and Printed Editions by Aaron Copland cover the years from 1920 through 1982 in a numerical order established by Copland, designated as ARCO numbers, which total 100 assignments. After each ARCO number, a numerical or alphabetical suffix is assigned that represents the type of material. The last category consists of Music Composed by Copland Not Assigned an ARCO Number which includes music culled from or later developed into well-known Copland works and which were not assigned a number by Copland or his staff. The Juvenilia: Works by Copland represent his early compositions and arrangements. The Music By Other Composers includes manuscripts, fascimiles, and printed music which were part of Copland's extensive collection of music. See the Alphabetical Title Index to Aaron Copland Music Compositions and Key to ARCO Numeric System for a further explanation of Copland's numbering system.
Arrangment is by subseries.
Music Manuscripts and Printed Editions by Aaron Copland, Published Compilations of Works by Copland, and Music Composed by Copland Assigned ARCO Number (1920-1985 and undated). Includes manuscripts, copies of manuscripts (ozalids, photocopies and photostats) and printed scores of Copland's original compositions, adaptations and transcriptions, compilations of Copland's works, and adaptations and transcriptions by other composers. Juvenilia: Works by Copland (1911-1926 and undated). Divided into Juvenilia Arranged Chronologically, Juvenilia Arranged Alphabetically by Title, and Copland Transcriptions or Arrangements of Works by Others. Included manuscripts and student music notebooks. See the Alphabetical Title Index to Aaron Copland Music Compositions and Key to ARCO Numeric System for a further explanation of Copland's numbering system.
Arranged numerically by Copland's numbering system, then by decimal numbers for manuscripts and copies of manuscripts and by alphabetic suffix for published editions (except works not numbered arranged alphabetically by title).
On microfilm: MUSIC 1906, Item 6.
On microfilm: MUSIC 1906, Item 36.
On microfilm: MUSIC 1906, Item 36.
On microfilm: MUSIC 1906, Item 1.
On microfilm: MUSIC 1906, Item 1.
On microfilm: MUSIC 1906, Item 93.
On microfilm: MUSIC 1906, Item 93.
On microfilm: MUSIC 1906, Item 93.
On microfilm: MUSIC 1906, Item 93.
On microfilm: MUSIC 1906, Item 93.
On microfilm: MUSIC 1906, Item 23.
CONTENTS:
CONTENTS:
On microfilm: MUSIC 1906, Item 79.
On microfilm: MUSIC 1906, Item 80.
On microfilm: MUSIC 1906, Item 32 A.
On microfilm: MUSIC 1906, Item 32 B.
On microfilm: MUSIC 1906, Item 32 B.
On microfilm: MUSIC 1906, Item 14.
On microfilm: MUSIC 1906, Item 12.
On microfilm: MUSIC 1906, Item 11.
On microfilm: MUSIC 1906, Item 11.
On microfilm: MUSIC 1906, Item 94.
On microfilm: MUSIC 1906, Item 95.
On microfilm: MUSIC 1906, Item 94.
On microfilm: MUSIC 1906, Item 95.
On microfilm: MUSIC 1906, Item 96.
CONTENTS:
On microfilm: MUSIC 1906, Item 61.
CONTENTS:
On microfilm: MUSIC 1906, Item 61 B.
On microfilm: MUSIC 1906, Item 59.
On microfilm: MUSIC 1906, Item 59.
On microfilm: MUSIC 1906, Item 60.
On microfilm: MUSIC 1906, Item 60.
On microfilm: MUSIC 1906, Item 59.
On microfilm: MUSIC 1906, Item 70.
On microfilm: MUSIC 1906, Item 70.
On microfilm: MUSIC 1906, Item 68.
On microfilm: MUSIC 1906, Item 68.
On microfilm: MUSIC 1906, Item 85.
On microfilm: MUSIC 1906, Item 62.
On microfilm: MUSIC 1906, Item 63.
On microfilm: MUSIC 1906, Item 63.
On microfilm: MUSIC 1906, Item 63.
CONTENTS:
On microfilm: MUSIC 1906, Item 77.
On microfilm: MUSIC 1906, Item 97.
On microfilm: MUSIC 1906, Item 47.
On microfilm: MUSIC 1906, Item 47.
On microfilm: MUSIC 1906, Item 47.
On microfilm: MUSIC 1906, Item 47.
On microfilm: MUSIC 1906, Item 73.
On microfilm: MUSIC 1906, Item 73.
On microfilm: MUSIC 1906, Item 49.
On microfilm: MUSIC 1906, Item 50.
On microfilm: MUSIC 1906, Item 48.
On microfilm: MUSIC 1906, Item 31 A.
On microfilm: MUSIC 1906, Item 31 A.
On microfilm: MUSIC 1906, Item 31 B.
On microfilm: MUSIC 1906, Item 64.
On microfilm: MUSIC 1906, Item 72.
On microfilm: MUSIC 1906, Item 72.
On microfilm: MUSIC 1906, Item 35 A.
On microfilm: MUSIC 1906, Item 35 B.
On microfilm: MUSIC 1906, Item 35 B.
On microfilm: MUSIC 1906, Item 27.
On microfilm: MUSIC 1906, Item 27.
On microfilm: MUSIC 1906, Item 43.
On microfilm: MUSIC 1906, Item 43.
On microfilm: MUSIC 1906, Item 43.
On microfilm: MUSIC 1906, Item 76.
On microfilm: MUSIC 1906, Item 7 A.
On microfilm: MUSIC 1906, Item 7 B.
CONTENTS:
CONTENTS:
On microfilm: MUSIC 1906, Item 81.
On microfilm: MUSIC 1906, Item 81.
On microfilm: MUSIC 1906, Item 81.
On microfilm: MUSIC 1906, Item 81.
On microfilm: MUSIC 1906, Item 42.
On microfilm: MUSIC 1906, Item 42.
On microfilm: MUSIC 1906, Item 42.
On microfilm: MUSIC 1906, Item 53.
On microfilm: MUSIC 1906, Item 53.
On microfilm: MUSIC 1906, Item 20.
On microfilm: MUSIC 1906, Item 19.
On microfilm: MUSIC 1906, Item 19.
On microfilm: MUSIC 1906, Item 46 B.
On microfilm: MUSIC 1906, Item 46 A.
On microfilm: MUSIC 1906, Item 46 A.
On microfilm: MUSIC 1906, Item 83.
On microfilm: MUSIC 1906, Item 83.
CONTENTS:
On microfilm: MUSIC 1906, Item 17 B.
On microfilm: MUSIC 1906, Item 17 B.
On microfilm: MUSIC 1906, Item 17 A.
On microfilm: MUSIC 1906, Item 21.
On microfilm: MUSIC 1906, Item 21.
On microfilm: MUSIC 1906, Item 55.
On microfilm: MUSIC 1906, Item 55.
On microfilm: MUSIC 1906, Item 55.
CONTENTS:
On microfilm: MUSIC 1906, Item 25.
On microfilm: MUSIC 1906, Item 25.
On microfilm: MUSIC 1906, Item 2A.
On microfilm: MUSIC 1906, Item, 2A.
CONTENTS:
On microfilm: MUSIC 1906, Item 9.
On microfilm: MUSIC 1906, Item 8.
On microfilm: MUSIC 1906, Item 10.
On microfilm: MUSIC 1906, Item 44.
On microfilm: MUSIC 1906, Item 45.
On microfilm: MUSIC 1906, Item 91.
On microfilm: MUSIC 1906, Item 91.
On microfilm: MUSIC 1906, Item 91.
CONTENTS:
On microfilm: MUSIC 1906, Item 89.
CONTENTS:
On microfilm: MUSIC 1906, Item 89.
CONTENTS:
Works attributed to Aaron Copland include:
CONTENTS:
On microfilm: MUSIC 1906, Item 38.
On microfilm: MUSIC 1906, Item 38.
On microfilm: MUSIC 1906, Item 39.
CONTENTS:
CONTENTS:
On microfilm: MUSIC 1906, Item 89.
CONTENTS:
On microfilm: MUSIC 1906, Item 89.
CONTENTS:
Works attributed to Aaron Copland include:
On microfilm: MUSIC 1906, Item 65.
On microfilm: MUSIC 1906, Item 66.
On microfilm: MUSIC 1906, Item 67.
On microfilm: MUSIC 1906, Item 74.
On microfilm: MUSIC 1906, Item 74.
On microfilm: MUSIC 1906, Item 3.
On microfilm: MUSIC 1906, Item 75.
On microfilm: MUSIC 1906, Item 75.
On microfilm: MUSIC 1906, Item 75.
On microfilm: MUSIC 1906, Item 69.
CONTENTS:
CONTENTS:
CONTENTS:
On microfilm: MUSIC 1906, Item 52.
On microfilm: MUSIC 1906, Item 52.107
On microfilm: MUSIC 1906, Item 13.
On microfilm: MUSIC 1906, Item 13.
On microfilm: MUSIC 1906, Item 13.
On microfilm: MUSIC 1906, Item 13.
CONTENTS:
CONTENTS:
On microfilm: MUSIC 1906, Item 18.
On microfilm: MUSIC 1906, Item 18.
CONTENTS:
Music Manuscripts and Facsimiles by Others (1912-1988) includes some manuscripts, copies of manuscripts, copies of manuscripts (i.e. photocopies and photostats) of scores and some parts. Printed Music by Others (1841-1986) includes printed scores of original compositions and transcriptions.
Arranged alphabetically by composer, compiler, or editor, then by title.
The Writings & Oral Presentations series represent over fifty years (c. 1925-1988) of written and oral commentary on music and musicians during the lifetime of Copland and is divided into to main subseries: Writings by Aaron Copland and Writings by Others. The subseries, Writings by Aaron Copland is divided into 5 subseries: Articles, Books, Lectures & Speeches, Radio and Television. The subseries, Writings by Others extends to material written about Aaron Copland and material written about other composers, musicians, and critics or other subjects. The articles reflect the views and opinions of a wide range of notable people. The interviews almost span his entire life from 1928 to 1988 and comprise dialogues with substantive and substantial quotes by Copland. See the Index for Articles with AC Numbers for an explanation and numeric indexes of Copland's numbering system. See the Index for the Lectures and Speeches with AC Numbers for more information.
Arranged by suberies.
The writings by Aaron Copland contain the different venues that Copland employed to communicate his thoughts and ideas on music -- the growth of American music and commentary on the people or organizations that fostered composers and their music through the 1960s -- beginning in 1925 with his second published article, "What Europe Means to the Aspiring Composer", after his return from three years of musical study in France. This series is divided into Articles, Books, Lectures & Speeches, Radio and Television. Includes unpublished manuscripts, notes and outlines; letters, typescripts, galley and page proofs; published articles clippings, reviews and promotional material. See the Index for Articles with AC Numbers for an explanation and numeric indexes of Copland's numbering system. See the Index for the Lectures and Speeches with AC Numbers for more information.
Arranged by author, title or chronologically.
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Writings by Others extends to material written about Aaron Copland and material written about other composers, musicians, and critics or other subjects. The articles reflect the views and opinions of a wide range of notable people. The interviews almost span his entire life from 1928 to 1988 and comprise dialogues with substantive and substantial quotes by Copland. This series is divided into About Aaron Copland, Articles, Booklets, Interviews, Libretti, Poetry and Scripts. Includes manuscripts, typescripts, unpublished and published printed material and microfilm. Arranged alphabetically by author in each category, then by title.
Arranged by author, title or chronologically.
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The Diaries are divided into two sections, Datebooks and Journals. The datebooks range from 1935 to 1985, except for the year 1954, and were generally used to briefly record his daily activities. The desk size books from 1942 to 1969 also enumerate the commissions offered to him by individuals and/or organizations. The pocket size books were apparently used during domestic or foreign trips. The Journals consist of notebooks which record activities, list items and report on events and trips. The material dates from his 1910 reminiscences and extends to comments about his 1973 European trip. The journal dated from 1941-1973 includes family genealogy charts. Two journals describe the creation of the music scores for two films, "The Red Pony" and "Something Wild". The date spans represent the actual span of year dates noted in the journal. See the Index for Journals with AC Numbers for an explanation and list of the journals in numeric order.
Arranged by subseries.
Because of the fragile nature of some journals, the originals and archival photocopies will not be served to researchers. Photocopies of the journals, which are placed in binders, will be available to researchers.
The datebooks range from 1935 to 1985, except for the year 1954, and were generally used to briefly record his daily activities. The desk size books from 1942 to 1969 also enumerate the commissions offered to him by individuals and/or organizations. The pocket size books were apparently used during domestic or foreign trips.
Includes pocket and desk daily appointment books; arranged chronologically by year, then by type.
The Journals consist of notebooks which record activities, list items and report on events and trips. The material dates from his 1910 reminiscences and extends to comments about his 1973 European trip. The journal dated from 1941-1973 includes family genealogy charts. Two journals describe the creation of the music scores for two films, "The Red Pony" and "Something Wild". The date spans represent the actual span of year dates noted in the journal. See the Index for Journals with AC Numbers for an explanation and list of the journals in numeric order.
Includes notebooks of varied types; arranged chronologically by year dates noted in journals.
DO NOT SERVE; ONLY SERVE BINDERS
Binder 1 = Box 243/Folders 1-16 and Box 244/Folders 1-10
Binder 2 = Box 244/Folders 11-18 and Box 245/Folders 1-18
The Correspondence series is divided into 2 subseries: Personal Correspondence and General Correspondence. The subseries, Personal Correspondence (1911-1991) contains letters to and from Copland with his family, teachers, fellow composers, literary figures, personal friends and acquaintances. Of particular interest are the letters with Nadia Boulanger, which extent over 50 years, and the letters with his long-time friend, Harold Clurman. Other significant correspondents are Leonard Bernstein, Paul Bowles, Benjamin Britten, Carlos Chávez, David Diamond, Roy Harris, Claire Reis, Roger Sessions, Charles Ives, Arnold Schoenberg, and Virgil Thomson. The subseries, General Correspondence (1935 to 1991) comprises a variety of day-to-day mail, which Copland reviewed, from individuals and businesses. The letters include requests to lecture and conduct and for permissions, birthday and holiday greeting cards from family, friends and school children, and fan mail.
Arranged by subseries.
The subseries, Personal Correspondence (1911-1991) contains letters to and from Copland with his family, teachers, fellow composers, literary figures, personal friends and acquaintances.
Includes letters, telegrams and notes to and from Copland. Arranged alphabetically by name, then chronologically. Correspondents with fewer then five items, filed alphabetically, then chronologically, within a Miscellaneous folder which precedes each letter of the alphabet.
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The subseries, General Correspondence (1935 to 1991) comprises a variety of day-to-day mail, which Copland reviewed, from individuals and businesses. The letters include requests to lecture and conduct and for permissions, birthday and holiday greeting cards from family, friends and school children, and fan mail.
Includes letters, telegrams and greeting cards. Arranged alphabetically by correspondent's name, except greeting cards, then chronologically.
The Professional Papers are divided into two sections, Business Organizations and Engagements. The Business Organizations include records that pertain to Copland's affiliation with and service for various private, public, and governmental agencies, organizations, and councils, at the local, national, and international level and material that relate to numerous publishers, agents and foundations. Voluminous records exist for the Arrow Music Press (formerly, Cos Cob Press), for which Copland served as Treasurer, and for Boosey & Hawkes, his music publisher, which include letters about score corrections for his music. Other significant material are the Copland-Sessions Concerts of Contemporary Music, the Koussevitzky Music Foundation, the League of Composers, Modern Music, the Edward MacDowell Association, and Tanglewood which includes material on the Berkshire Music Center and the Boston Symphony Orchestra. The Engagements represent correspondence and other material between organizations for which Copland performed, spoke or conducted, or from whom he was bestowed an award or honor. The organizations include orchestras, universities and colleges, festivals, museums, and societies. The most notable events are his trips to Latin America in 1941 and 1947 and his frequent appearances with the London Symphony, New York Philharmonic, and National Symphony orchestras.
Arranged by subseries.
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The Subject File is a composite of printed matter and material on special subjects that Copland kept. The largest and most extensive is the Composition section which consists of published clippings, magazine articles, promotional material, annotated programs and other miscellaneous items relating to performances of his compositions. In May of 1953, Copland was summoned to appear before the House Un-American Activities Committee and respond to a list of alleged "communist" affiliations. The United States Congress section documents Copland's correspondence, notes, statements and evidence during this period. Also, an annotated copy of the Congressional Record of January 16, 1953 in which the affiliations were first recorded and a transcript of the hearing are included.
The Subject File series is divided into Brochures, Bulletins, Catalogues, Clippings, Compositions, Newsletters, Notes, Opera Ideas, Programs, Promotional Materials, Recording, Tribute and Multiple Composition, United States Congress, and White House. Includes correspondence, clippings, programs, promotional material and other printed matter. Arranged alphabetically by subject; then Brochures, Bulletins, Catalogues, Compositions, Opera Ideas, Recording, Tribute and Multiple Composition, and United States Congress arranged alphabetically by title or subject; and Clippings, Newsletters, Notes, Programs and Promotional Materials arranged chronologically.
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The series Scrapbooks is represented by four scrapbooks. Three of the four scrapbooks focus on specific undertakings by Copland -- the Copland-Sessions Concerts from 1924 to 1931, the Yaddo Festivals from 1932-33, and the 1978 Australian tour for which he conducted and lectured. The other scrapbook represents the beginnings of Copland's clipping file from 1924 to 1942.
Four volumes that include articles, clippings, photographs, programs and other memorabilia. Arranged chronologically.
Because of their fragile condition, all but the Australian tour scrapbook have been preserved on microfilm (Microfilm 93/20002 Mus); the original of these three volumes will not be served to the public.
On Microfilm: 93/20002 Mus Item 1
DO NOT SERVE ORIGINAL
On Microfilm: 93/20002 Mus Item 3
DO NOT SERVE ORIGINAL
On Microfilm: 93/20002 Mus Item 2
DO NOT SERVE ORIGINAL
The Biography series consists of divergent materials, some of which is biographical and others personal. The biographical material includes autobiographical notes, a notebook and assorted lists that pertain to Copland's activities and compositions, and two birthday albums. The 70th birthday album comprises "An album of composers' tributes" which contains congratulatory letters, musical salutes, poems and ink drawings from 116 composers. The 80th birthday album was presented by the National Symphony Orchestra from friends and includes congratulatory letters from President Jimmy Carter, Vice President Walter Mondale, conductor Mstislav Rostropovich, Roger L. Stevens (chairman of the John F. Kennedy Center for the Performing Arts), and international musical luminaries.
Includes correspondence, notebook, lists, two birthday albums containing letters, music manuscripts, poems, photographs and ink drawings, calling cards, clippings, miscellaneous bank, investment, insurance, medical and property records and documents, invitations, and passports. Arranged alphabetically by subject.
The Awards series contain the artifacts that Copland received from the numerous and myriad honors and awards bestowed on him during his lifetime. Copland accepted his first honorary doctorate in music from Princeton University in 1956, and almost every year thereafter he approved another one either in humane letters or in music. The last one was a Degree of Fine Arts, "Honoris Causa", from the New School for Social Research in 1983. Other tributes conferred on Copland from 1947 to 1982 include the Presidential Medal of Freedom, awarded by President Lyndon B. Johnson in 1964, and the Kennedy Center Honors' medal in 1979. In most cases, programs, invitations, and letters accompany the actual degree, award or medal.
Citations, Medals, etc. include certificates, proclamations, plaques, medals, keys to cities and, some cases, accompanying correspondence, programs, reviews and other printed material. Arranged alphabetically by the presenter's name.
The Art Works section is divided into Of Aaron Copland, Other Works, Poetry, and Posters that include drawings, caricatures, and portraits of Aaron Copland and other artistic renderings which consist of special editions of illustrated poems by various artists in different mediums. The two most illustrious artists represented are a numbered print by Pablo Picasso and an engraved color print by Marc Chagall which was part of an invitation from the Prince and Princess of Monaco for a 1967 program to honor Nadia Boulanger.
Citations, Medals, etc. include certificates, proclamations, plaques, medals, keys to cities and, some cases, accompanying correspondence, programs, reviews and other printed material. Arranged alphabetically by the presenter's name.
The Photographs series contain approximately 12,000 images and date from c. 1889-1985. The largest section is the portraits of Copland alone, both formal and informal, professional and amateur. Noteworthy subjects include many rarely-seen early portraits of Aaron Copland and the majority of the photographs reproduced in Copland's two volume autobiography, "Copland, 1900-1943" (Volume I) and "Copland Since 1943" (Volume II). Photographs from these books are identified with a Roman numeral I or II, designating the volume in which it was reproduced, followed by an Arabic numeral designating the page on which the photograph is found.
A large portion of the photo images were taken by Copland's life-long friend, the professional photographer, Victor Kraft (1915-76). Among the images produced by Victor Kraft are luminaries of the American music scene from the first half of the twentieth century, including Leonard Bernstein, Marc Blitzstein, Paul Bowles, David Diamond, Lukas Foss, Serge Koussevitzky, Walter Piston and the Tanglewood Music Festival during the 1940s. In fact, a significant amount of items correspond or overlap between this series and the Victor Kraft Materials series. Illustrious photographers represented include Margaret Bourke-White, Irving Penn, Gordon Parks and Carl Van Vechten, among others. If photographic credits are not given, the photographer is, as yet, unidentified. See the Explanation of Code System for Photographs at the end of the series.
Includes black and white and color photoprints in several sizes, color slides, black and white contact prints, black and white and color negatives, and color transparencies (mostly 35mm, but includes oversize, copy and square negatives). Photoprints with and without Aaron Copland arranged by subject from the most personal and relevant to Copland to less important and significant, then roughly in chronological order; Photo Albums arranged in approximate chronological order; Color Slides arranged by subject; and Negatives arranged according to pre-existing job codes in alpha-numeric order when available, and according to newly-assigned codes arranged by subject, then numerically.
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Negatives: Not to be served see: following Explanation to code system.
Negatives: Not to be served see: following Explanation to code system.
The Victor Kraft Materials contain approximately 40,000 items and span the years c. 1918-1976. Victor Kraft (1915-76) was a professional photographer and life-long friend of Aaron Copland. They first became acquainted in the early 1930's and maintained close contact until Kraft's death. Copland was the godfather of Kraft's only child Jeremy, a son from his second wife Rheba. Kraft's photographs appeared in such prominent publications as "Life Magazine", "Harper's Bazaar", "Junior Bazaar", and the French art journal "L'Oeil", among others.
The bulk of the photoprints and negatives document Kraft's travels in Mexico in the 1930s [and/or 1950s?] and in Brazil from 1951-53. Notable subjects include formal and informal portraits of Aaron Copland, and portraits from the 1940s and 1950s of numerous composers and performers of the American music scene, including Leonard Bernstein, Paul Bowles, Edwin Denby, Lukas Foss, Erik Johns, William Kapell, Dmitri Mitropoulos, and Robert Shaw. The Tanglewood Music Festival during the 1940s is also well represented with many historically interesting images to be found in the photoprints, as well as the contact sheets and negatives. Photoprints by other prominent photographs are represented -- Cecil Beaton (portraits of Victor Kraft and a self-portrait photocard), Ronny Jaques (a signed portrait of Carson McCullough), and Carl Van Vechten (1935 portraits of Victor Kraft). All other images are assumed to have been created by Victor Kraft unless otherwise noted. Of other interest are the series of letters to Kraft from Paul Bowles, and a sampling of Kraft's original negative sleeves which reveal insights into his systematization and methodology. See the Explanation of Code System for Photographs in the Victor Kraft Materials at the end of this series.
Includes letters, telegram, manuscript and typewritten notes, identification cards and passport, address book, bank checks and statements, receipts, purchase orders, black and white and color prints, black and white contact prints, color slides, black and white and color negatives, color transparencies (mostly 35 mm, but includes oversize, copy and square negatives), a watercolor and etching print, post cards, clippings, and maps. Biographical, Professional Papers, Photoprints, Contact Sheets, Color Slides and Printed Matter arranged by subject (Photoprints follow similar order as photoprints in Photographs series); Correspondence arranged chronologically; Artwork arranged alphabetically by subject, and Negatives arranged according to pre-existing job codes in alpha-numeric order when available, and according to newly-assigned codes arranged by subject, then numerically.
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FRAGILE, DO NOT EXPOSE TO BRIGHT LIGHT
The dates below are the processing dates printed on the boxes in which these negatives were stored.
Negatives: Not to be served see: following Explanation to code system.
Negatives: Not to be served see: following Explanation to code system.
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The Copland Library series comprises selected books on a wide range of musical and general subjects from Copland's personal library. Most are signed, usually by the author, or contain annotations or information about Copland. The books reflect Copland's wide and varied interests and include those books written by Copland and translated into various languages. Many books concentrate on Copland's interest in French culture after his years of study in Paris.
Includes published hardbacks and softbacks. Arranged in alphabetical order by author, then by title.
All manuscripts and copies of manuscripts (i.e., ozalids, photocopies, and
photostats) are assigned whole ARCO numbers and/or whole numbers with decimal point
and number. Examples:
Published works are assigned ARCO numbers followed by a lower case letter, or
edition suffix. In most cases (but not all), the lower case "a" indicates first
editions. Subsequent editions are assigned suffixes according to the date of
publication or copyright. Examples:
Some of Copland's works have been adapted or transcribed for performance by groups
of varying sizes (or genres). For instances, the work
As mentioned, the number assignments and genre indicators are those of the composer. Some adjustments have been made only to render items easily accessible to researchers and retrieved/returned by Music Division staff.
Copland numbered consecutively some of his published articles; when known, the numbers are given after the alphabetical arrangement by title in the series of the container list. Below is a listing of the works in AC numerical order.
Two numbering systems by Copland were discovered during processing -- one for lectures designated as "general" or "miscellaneous" and the other for the lectures designated as "various," the former were assigned the prefix "LG" and the latter the prefix "LV." The following lists show both numbering systems in AC numeric order, combined and separately, by type of lecture.
Twelve of the 26 journals were numbered by Copland on the outside cover; however, the number 5 appears on two books, one with a question mark in the handwriting of Ron Caltabiano who was Copland's assistant in the 1980's.
The negatives have been coded two ways: (1) previously-given identifying codes or
(2) job numbers were maintained and conjoined with the prefix CC-CP-N (
The negatives have been coded two ways: (1) previously-given identifying codes or
(2) job numbers were maintained and conjoined with the prefix CC-VKM-N (
Kraft had arranged the negatives in four negative books (CC-VKM-NI-# to CC-VKM-NIV-#) with glassine sleeves. These negatives have been rehoused in acid-free sleeves and numerically and sequentially coded according to Kraft's arrangement. The original arrangement has been preserved as closely as possible. The roman numeral in the code signifies in which negative book the negative had been stored.