- physdesc
-
{"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"0.63 linear feet", "unit"=>"linear feet"}, {"name"=>"extent", "value"=>"2 boxes", "unit"=>"containers"}], "supress_display"=>true}
- unitid
-
{"value"=>"*MGZMD 175", "type"=>"local_call"}
{"value"=>"19805", "type"=>"local_mss"}
- unitdate
-
{"value"=>"1922-1929", "type"=>"inclusive", "normal"=>"1922/1929"}
- date_inclusive_start
-
1922
- date_inclusive_end
-
1929
- keydate
-
1922
- unittitle
-
{"value"=>"Chicago Allied Arts, Inc. records"}
- repository
-
{"value"=>"<span class=\"corpname\">The New York Public Library for the Performing Arts.</span> <span class=\"subarea\">Jerome Robbins Dance Division</span> <div class=\"address\"> <span class=\"addressline\">New York, New York</span></div>"}
- abstract
-
{"value"=>"The Chicago Allied Arts, Inc. Records are chiefly comprised of correspondence, contracts, financial records, and drafts of legal documents concerning the establishment and operations of the short-lived organization, which produced an innovative series of programs of new music and dance in Chicago from 1924-1927."}
- prefercite
-
{"value"=>"Chicago Allied Arts, Inc. records, *MGZMD 175. Jerome Robbins Dance Division, The New York Public Library for the Performing Arts"}
- origination
-
{"value"=>"Chicago Allied Arts, Inc", "type"=>"corpname"}
- bioghist
-
{"value"=>"<p>Chicago Allied Arts, Inc. was an organization formed in 1924 for the purpose of presenting small-scale ballet and music performances in Chicago. In doing so, it brought together Eric De Lamarter's Solo Orchestra and the Ballet Intime of Adolph Bolm. Modeled somewhat along the line of Serge Diaghilev's Ballets Russes, the project was to be funded through the guarantees of individual sponsors. Composer John Alden Carpenter was one of the group's founders and took the lead in organizing the programs and attracting additional donors. Using his social connections, Carpenter assembled a list of supporters that included many of the most prominent names in Chicago society, including members of the Aldis, Goodman, McCormick, and Ryerson families. The earliest programs put on by Chicago Allied Arts also featured international guest stars, such as the ballerina Tamara Karsavina and flamenco dancer Maria Montero to augment the dance ensemble.</p> <p>The first program, which took place at the Eighth Street Theatre on November 27, 1924, set the pattern that would be followed in subsequent seasons. The initial half consisted of orchestral works led by De Lamarter, as well as a performance of Leo Sowerby's <span class=\"title\">Rhapsody</span>, conducted by the composer. The ballet portion of the program offered the Chicago premiere of <span class=\"title\">Foyer de la Danse</span>, a ballet by Bolm, set to the music of Emmanuel Chabrier. The remainder of the dance pieces consisted of divertissements performed by Karsavina, Bolm, and soloists from Bolm's troupe, including Ruth Page, Marcia Preble, and Caird Leslie. Russian-born scenic designer Nicolas Remisoff, who had developed a reputation through his earlier work with the Chauve-Souris cabaret, created the front curtain, costumes, and sets for the entire first production, as well as the group's logo. These initial performances were met with critical praise and Chicago Allied Arts, Inc. quickly followed up with a second program in January 1925. The musical selections included performances of Stravinsky's <span class=\"title\">Pribaoutki</span> song cycle, sung by Mina Hager, and works by Arnold Schoenberg and Arthur Bliss. The major critical successes of the program, however, were a new ballet to Manuel de Falla's <span class=\"title\">El Amor Brujo</span>, choreographed by Bolm, featuring Montero and designs by Rollo Peters, and the world premiere of another Bolm ballet, <span class=\"title\">The Rivals</span>, which was a reworking of a Chinese legend to an original score by Henry Eichheim, in which Page had a significant part</p> <p>Much of the same creative team reunited for a second and third season of programs (1925-1927), which perhaps were even more progressive in outlook. Among the highlights were a fully staged performance of Schoenberg's <span class=\"title\">Pierrot Lunaire</span>, the premieres of several new Bolm ballets, including <span class=\"title\">Bal des Marionettes</span> (Erik Satie) and <span class=\"title\">Visual Mysticism</span> (Aleksandr Scriabin), Page's <span class=\"title\">The Flapper and the Quarterback</span> (Clarence Loomis), and a special gala performance for the visiting Queen Marie of Romania (November 14, 1926). Although plans for an ambitious new season were announced for March 1927, that program never materialized. In July 1927, it was reported that Chicago Allied Arts, Inc. was to suspend its activities for one year, but the organization, which had been responsible for presenting some of the most innovative programs of new music and dance to take place in Chicago, never reemerged.</p>"}
- scopecontent
-
{"value"=>"<p>The Chicago Allied Arts, Inc. Records are chiefly comprised of correspondence, but the collection also includes some contracts, financial records, and drafts of legal documents concerning the establishment and operations of the short-lived organization, which produced a series of programs of music and dance in Chicago from 1924-1927. Most of the correspondence deals with financial or administrative matters, and mainly consists of letters to and from John Alden Carpenter soliciting contributions from potential donors. Similarly, correspondence between Adolph Bolm and Carpenter and Nicolas Remisoff and Bolm primarily pertains to payments, but occasionally also touches on artistic decisions. While incomplete, these records document some of the planning and development of the ballet programs for the group's initial 1924-1925 season. With the exception of two letters and accounts submitted by conductor Eric De Lamarter (one of which contains a full listing of the orchestra members), there is very little information in the collection on the musical component of the Chicago Allied Arts, Inc. concerts. Also of interest is an unidentified letter, dated January 3, 1929 (possibly from Carpenter to Ruth Page), which chronicles a trip to Russia and Europe. Though the titles of the works often are omitted, this lengthy letter contains extended descriptions of numerous performances attended by the sender, including stagings of <span class=\"title\">The Red Poppy</span> and <span class=\"title\">The Sleeping Beauty</span> at the Bolshoi, various Moscow Art Theatre productions, and <span class=\"title\">Die Dreigroschenoper</span> in Berlin. Although fragmentary in nature, the collection provides an insight into a mostly forgotten episode in the development of ballet in the United States and uncovers the organization's unique contribution to the cultural and social life of Chicago.</p>"}
- acqinfo
-
{"value"=>"<p>The Chicago Allied Arts, Inc. Records were donated to the Jerome Robbins Dance Division in 1992</p>"}
- accessrestrict
-
{"value"=>"<p>Photocopying prohibited.</p>"}
- userestrict
-
{"value"=>"<p>For permission to publish, contact the Curator, Jerome Robbins Dance Division.</p>"}
- arrangement
-
{"value"=>"Alphabetical"}
- processinfo
-
{"value"=>"<p>Processed by Helice Koffler; Machine-readable finding aid created by Helice Koffler.</p>"}
- extent_statement
-
0.63 linear feet (2 boxes)
- date_start
-
1922
- date_end
-
1929