Found matches for bronx in 22 collections.

Glenn Pressler (1915-1990), a bass-baritone vocalist, performed as a soloist or in choruses in New York City in the 1940s and early 1950s. In the 1970s and 1980s, he worked at Herbert Barrett Management, where he managed the careers of the vocalists Eileen Farrell and Morley Meredith. The Glenn Pressler papers, dating from 1897 to 1988, document Pressler’s careers in vocal performance and artist management. They hold correspondence, concert programs, photographs, clippings, and memorabilia. less

The records of the Composers' Forum document the history of the organization from 1935 to 2002. They hold correspondence, concert programs, press releases, clippings, grant applications and other development files, board meeting minutes and correspondence, photographs, membership files, concert production files, concert discussion transcripts, historical essays and scrapbooks. less

The Mildred Wellerson Papers document the early career of the American cellist, who, as a child prodigy, had begun making public appearances by the age of four, and, under the name, Mila Wellerson, continued to perform as a young woman in the United States and Europe. less

The Leonard Warren Papers document the professional career of the American baritone. Warren was a leading performer with the Metropolitan Opera for over twenty years, whose significant accomplishments have been overshadowed by his dramatic death onstage during a performance. Much of the collection is comprised of clippings and scrapbooks, as well as some promotional materials, such as broadsides and posters. It also contains numerous condolence cards, letters, and telegrams sent in the wake of the singer's untimely death. less

Betty Comden, lyricist and part of the creative team of Comden and Green, wrote lyrics for many Broadway shows from 1940 until 1990. The collections consists of vocal scores, parts and sketches for musicals of which Comden and Green were part of the creative team. less

The Frank Wigglesworth Papers document Wigglesworth's life and career. The collection was assembled by Wigglesworth over the course of his lifetime, and includes musical scores, correspondence, clippings, programs, miscellaneous papers, iconography, and books. Correspondents include Henry and Sidney Cowell, Lou Harrison, Otto Luening, Virgil Thomson, and Edgard Varèse among many others. Maurice Sendak and Adlai Stevenson are represented by one letter each. Lou Harrison's letter of February 12, 1952, contains the autograph score of his Serenade for Guitar, spontaneously composed for Wigglesworth. Series A/4 contains other autograph scores by Harrison and by Otto Luening, a manuscript score by Vittorio Rieti, and reproductions of manuscript scores by Paul Arma, Chester Biscardi, Edward V. Bonnemere, Richard Brooks, John Cage, Gerald C. Chenoweth, Edward T. Cone, Stefania M. De Kenessey, Aaron Einbond, Daniel S. Godfrey, Daron Aric Hagen, Jose Halac, Reiko Ito, Barbara Kolb, Robert Maggio, Denman Maroney, Henry Martin, Lucas Mason, Richard Owen, Peter Phillips, David L. Post, David Rakowski, Loren Rush, Marvin Salzberg, John Sembret, Davy Temperley, Virgil Thomson, Brian Wilson, Marilyn Ziffrin, and Ellen Taafe Zwilich. Sound recordings originally with the collection are now housed in the Rodgers and Hammerstein Archives of Recorded Sound. less

Arturo Toscanini was born in Parma, Italy, on March 25, 1867, and died in Riverdale, New York, on January 16, 1957. Many regard him as one of the world's greatest conductors. In addition, Toscanini's anti-Fascist stance during World War II distinguished him as a symbol of freedom and humanity. His extraordinarily long career began in 1886, when Italian orchestral conductors were still relatively few in number, and extended into the 1950s, by which time his radio and television broadcasts had transformed him into a cultural icon. The Toscanini Legacy papers form a portion of the Toscanini Legacy housed at the New York Public Library for the Performing Arts. The other major portion, of sound recordings, is housed in NYPL's Rodgers and Hammerstein Archives of Recorded Sound. The papers in the Music Division consist of music scores and orchestral parts with and without markings by Arturo Toscanini and others (including composers in some instances), correspondence, photographs, programs, clippings, books, newspapers, brochures, periodicals, scrapbooks, and medical and financial records. Subjects include the various musical organizations in Europe and the United States with which Toscanini was associated, and his anti-Fascist activities. The hundreds of correspondents include family members, composers, performers, conductors, and music critics; as well as Italian exiles, and U.S. and Italian political figures. less

Fred Ebb was a lyricist and librettist for Broadway musicals and motion picture and television projects. With composer John Kander, Ebb wrote scores for many acclaimed successful musicals. This collection contains scripts, scores and production files pertaining to Ebb's musicals as well as photographs, awards, personal and business files and extensive scrapbooks Ebb kept on each of his shows and other aspects of his life and career. less

Michael Stewart (nee Rubin), librettist, lyricist, playwright, and novelist, was born in New York City, where he attended Queens College. He received a Master of Fine Arts in drama from Yale in 1953. Prior to his work on Broadway, Stewart wrote for television and contributed sketches and lyrics to revues. His first effort on Broadway, Bye Bye Birdie, opened in 1960 and won Stewart his first Tony as its author. During his career in the musical theater Stewart also worked on Carnival!, Hello, Dolly!, 42nd Street, George M!, Barnum, I Love My Wife, Mack and Mabel, and The Grand Tour. Among his collaborators were the writer Mark Bramble, and the composers Cy Coleman, Jerry Herman, Bob Merrill and Jule Styne. less

Michael Shamberg was a film and video producer best known for his music video production work and creative partnership with the British rock band, New Order. The collection chronicles Shamberg's varied creative endeavors, including his work as a film director, writer, and visual artist. Shamberg's papers consist of business and production files from his career in the music, film, and television industries, as well as audio and moving image recordings of the artists and musicians he helped to produce, promote, and distribute. less

The American Music Center was a non-profit organization which aimed to promote the creating, performing, and enjoying of new American music. The American Music Center was founded in 1939 by composers Aaron Copland, Otto Luening, Marion Bauer, Harrison Kerr, and Quincy Porter. The center's mandate was to make the music of its composer members available to potential performers and conductors, and to act as a clearinghouse for the dissemination of information vital to its membership. Until that time, American composers had not been able to firmly establish themselves or their music as a unique American commodity that was of both high quality and in great demand. As their music came of age, these composers began to organize themselves into a substantial power base that would not only get their music heard but also make assurances for appropriate representation, promotion and compensation. The American Music Center was one of the leading organizations in this campaign. A partnership with the New York Public Library, initiated in 1978 led to cooperative cataloging initiatives and eventually to an agreement that the center's entire collection of scores would over time be transferred to the library. The American Music Center's score library, now housed at the Music Division, numbered close to 60,000 items. While the center's physical collection of printed and recorded music was the backbone of this remarkable institution, the mandate and activities of the center were relevant not only to music scholars, but to those in other areas of research. The center's activities have been responsible for creating a vast worldwide cultural resource for the dissemination of American music. Approximately 60,000 orchestral, chamber, solo instrumental, vocal and choral scores, solo parts and libretti placed in the AMC library by their composer members. Virtually all genres of notated music are represented in the collection, including many forms of orchestral concert music (overtures, symphonies, suites, etc.), chamber music for winds, strings, keyboard, percussion, electronics, alone and in combination, vocal music, solo and choral, and staged works (opera, ballet, musicals). The collection includes many published scores. A large portion of these are self-published reproductions of composer's manuscripts. Conventionally notated scores predominate, but there are also many representatives of various forms of graphic notation. less

Nancy Miller Elliott is a leading photographer in New York City. She assisted Buck Clayton in the publication, Buck Clayton's Jazz World, published by Oxford University Press in 1987. Two of her photographs were included in the photographic project Homeless in America, a portfolio from which was published in Newsweek, March 21, 1988. Collection includes 175 black and white photographs of jazz musicians primarily in New York City settings taken by Nancy Miller Elliott between the years 1983-1995. A number of the photographs include tenor saxophonist Buck Clayton, as well as other former members of the Count Basie Band. Collection also includes two photos of dancers Norma Miller and Frankie Manning in front of Smalls Paradise in Harlem. Three of the photos depict Nancy Miller Elliott and were taken by other photographers. less

The Otto F. Hess Photographs consist primarily of images shot by the creator over the course of his career (1936-1949). The photographs depict cultural life of New York City between the 1930s and 1940s, and especially the midtown jazz music scene. The collection includes photographic prints, and negatives, as well as Hess' handwritten notebook inventory of the collection. less