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: http://hdl.loc.gov/loc.music/perform.contact
Catalog Record: https://lccn.loc.gov/2006579409
Materials principally in Italian and 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.
Mario and Clara Castelnuovo-Tedesco first deposited music manuscripts at the Library of Congress in June 1966. A second agreement was signed in October 1970 and subsequent deposits from Clara continued until 1978. In February 2000, Lisbeth and Lorenzo Castelnuovo-Tedesco donated the remainder of the present scores, papers, and other materials to the Library.
No further accruals are expected.
The Mario Castelnuovo-Tedesco Papers were processed in 2009-2010 by Matthew Franke, Juliette Appold, and Christopher Hartten. The finding aid was coded for EAD format by Christopher Hartten in March 2010.
Sound recordings have been transferred to the Library of Congress Motion Picture, Broadcasting, and Recorded Sound Division.
A significant quantity of holograph manuscript scores, formerly on deposit, are cataloged in ML96.C34. Scores for several of the composer's works for violin are found in the Jascha Heifetz Collection (ML31.H4a). Additional scores of varying instrumentation are housed in the Moldenhauer Archives (ML31.M6).
Materials from the Mario Castelnuovo-Tedesco Papers are governed by the Copyright Law of the United States (Title 17, U.S.C.) and other applicable international copyright laws.
The Mario Castelnuovo-Tedesco Papers are open to research. Researchers are advised to contact the Music Division prior to visiting in order to determine whether the desired materials will be available at that time.
Certain restrictions to use or copying of materials may apply.
Researchers wishing to cite this collection should include the following information: [item, date, container number], Mario Castelnuovo-Tedesco Papers, Music Division, Library of Congress, Washington, D.C.
The Mario Castelnuovo-Tedesco Papers span the period 1822-1998, with the majority of the materials dating from 1920-1968. The collection includes holograph and copyist music manuscripts, printed music, libretti, writings, personal and family correspondence, business papers, photographs, programs, reviews, biographical materials, film music materials, and an assortment of books owned by the composer.
"Music" consists chiefly of holograph or copyist manuscripts and printed scores of Castelnuovo-Tedesco's compositions and arrangements. Many of these scores, especially the photocopied manuscripts, contain pencil or ink annotations in the hand of the composer. Works with opus numbers are distinguished from those without numbers and instrumentation is identified wherever possible. Much of this supplementary descriptive information is taken from the
Castelnuovo-Tedesco's working scripts for operas, oratorios, ballets, incidental music for plays, and song cycles are arranged by opus number or title under "Libretti." Most of these materials are original adaptations of other texts: plays and poetry by Shakespeare, Savonarola, Wilde, and Alfieri, as well as the Bible. There is also a collection of texts for his abandoned
"Correspondence" is categorically designated as "general" or "family," with the former arranged alphabetically within by correspondent. The general file chiefly contains letters to Castelnuovo-Tedesco or members of his family, with occasional attached drafts or copies of the composer's own letters. Notable correspondents include Ernest Bloch, Jascha Heifetz, Hans Moldenhauer, Ildebrando Pizzeti, Andrés Segovia, Arturo Toscanini, and many others. The largest of these files consists of letters between conductor and scholar Nick Rossi and Castelnuovo-Tedesco, as well as his family. Researchers are also advised to examine ML94 for additional letters between the composer and Pizzeti, Ernst Toch, Darius Milhaud, and others. Castelnuovo's handwritten logs of correspondence from 1947-1968 (box 128, folder 27) are especially useful points for departure. Family correspondence contains letters both to and from parents Amedeo and Noemi, sons Pietro and Lorenzo, wife Clara, and other extended family members and friends. Correspondence from Mario Castelnuovo-Tedesco appears first under each heading.
"Business papers" are chiefly files related to publishers, concert agents, recording companies, and film studios, arranged alphabetically by corporate name. Materials include contracts, correspondence, royalty statements, and receipts. A substantial portion of this material is between Castelnuovo-Tedesco’s heirs and the publishers. "Photographs" portray diverse experiences from the lives of various Castelnuovo-Tedesco family members. These images are loosely arranged by date, subject, or opus number. Included are portraits of Castelnuovo-Tedesco, snapshots of the composer with distinguished musical personalities (Cesar Cui, Walter Gieseking, Jascha Heifetz, and Igor Stravinsky), and production photographs from
Concert performances by Castelnuovo-Tedesco and performances of his works by others are documented in "Programs." Many are annotated by performers or include attached reviews. These programs continue for nearly thirty years after Castelnuovo-Tedesco’s death, culminating in the 1995 centenary concerts. Although the majority are arranged chronologically, a small subset are organized by performer or subject. "Reviews" contains clippings, telegrams, promotional materials, and other documents associated with performances of specific opus-numbered works. There are also several small scrapbooks related to particular works or concert tours, such as Castelnuovo-Tedesco’s 1924 concert tour as an accompanist to singer Solomiya Krushel'nytska. Similar documents are also found in the "Merchant of Venice materials," a series of subject files directly related to the work's 1961 and 1966 staged productions.
"Biographical materials" is a topical array of financial, educational, military, and other personal documents related to Castelnuovo-Tedesco and his family members. It contains correspondence regarding the composer's emigration from Italy to the United States in 1939, including letters to Mussolini, D’Annunzio, and Alessandro Pavolini. Also included are naturalization papers, passports, datebooks, address books, lists of students, newspaper clippings, and notebooks from Castelnuovo-Tedesco's days as a student in Italy. "Film music materials" is a subject file of assorted scripts and materials, some annotated, related to motion pictures for which Castelnuovo-Tedesco composed music. The final series, "Bound materials owned by Mario Castelnuovo-Tedesco," contains annotated, inscribed, or specially bound books and scores that belonged to the composer.
The collection is arranged in twelve series:
Chiefly manuscript and printed scores, parts, and sketches for original works and arrangements by Castelnuovo-Tedesco. Many of these contain annotations in the hand of the composer. Included as well are scores by other composers. References are provided for works in the collection cataloged in ML96.C34. Instrumentation has been identified if known. Container list descriptions indicate the quantity and type of unique item manifestations per folder. Duplicate copies of some of these materials have been retained, but they are not described below. For this reason, researchers are strongly advised to consult with Performing Arts Reading Room staff before placing any orders through Duplication Services.
Organized into four subseries. Works by Castelnuovo-Tedesco are arranged numerically by opus number, or, alphabetically by title if lacking an opus number. Works by other composers are arranged alphabetically by last name of composer, then within by title.
Principally with Madeleine Gray