- unitid
-
{"value"=>"30063", "type"=>"local_mss"}
{"value"=>"JPB 19-05", "type"=>"local_call"}
- unitdate
-
{"value"=>"1844-2013", "type"=>"inclusive", "normal"=>"1844/2013"}
- unittitle
-
{"value"=>"Marilyn Horne Collection of Scores"}
- physdesc
-
{"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"87 linear feet", "unit"=>"linear_feet"}, {"name"=>"physfacet", "value"=>"175 boxes"}]}
- repository
-
{"value"=>"<span class=\"corpname\">Music Division</span>"}
- abstract
-
{"value"=>"Marilyn Berneice \"Jackie\" Horne (b. 1934) is one of America's most famous operatic mezzo-sopranos. The Marilyn Horne Score Collection contains scores used during her career as a versatile performer and teacher. The collection also holds some memorabilia, such as autographed materials, and correspondence."}
- langmaterial
-
{"value"=>"English"}
- origination
-
{"value"=>"Horne, Marilyn", "type"=>"persname"}
- bioghist
-
{"value"=>"<p>Marilyn Berneice \"Jackie\" Horne (b. Jan. 16, 1934) is known today as one of the most beloved and influential American mezzo-sopranos, both on stage and in the studio as a teacher. Though Horne was best known as being responsible for both the bel canto and the Handel revivals in the United States, with repertoire such as Rossini's Semiramide, Bellini's Norma, and Handel's Rinaldo, she maintained a versatile performing career up until her recent retirement, championing repertoire that spanned all genres.</p> <p>Horne was born into a musical family in Bradford, Pennsylvania. She began her vocal training at the age of five and took short lessons weekly with various teachers up until her family moved to Long Beach, California, in 1945. While she mentions in her book, Marilyn Horne: The Song Continues, that her first paid gig as a singer was as early as age seven, it was in Long Beach that Horne's more serious work towards a professional singing career began. At age twelve, she joined the Roger Wagner Chorus and St. Luke's Episcopal Church Choir. These ensembles were frequently hired to sing at the Hollywood Bowl and to provide background music for television shows and movies, a world to which Horne would return many times as a soloist, first to dub Dorothy Dandridge's voice for Carmen Jones, and then to sing weekly on Arthur Godfrey's Talent Scouts. Horne would continue to appear on television throughout her career, frequenting programs such as The Carol Burnett Show, The Odd Couple, and Sesame Street, among others.</p> <p>A few years after her family moved to Long Beach, Marilyn Horne decided her name \"needed sophistication\" and added an extra \"n\" to the end of her first name. This spelling can be found on the scores she used in the early years of her career, including on her well-worn copy of The Merry Widow, the vehicle for her operatic debut in her junior year of High School. The same spelling is on her copy of The Bartered Bride, the opera in which she sang her first contralto role and through which she met her future husband, the double-bassist and conductor Henry Lewis. Horne was married to Lewis from 1960 to 1979, and they had a daughter, Angela. Horne continued to go by \"Marilynn\" in the few years she spent at the University of Southern California studying with William Vernard, and as she studied with Lotte Lehmann at the Music Academy of the West (a training festival she would later come to direct). She reverted to using the original spelling of her name around 1956, after arriving in Europe to pursue her opera career.</p> <p>Settling first in Gelsenkirchen, a city in West Germany, Horne joined its opera company as a soprano. While there, she performed roles such as Mimì in La Bohème, Giulietta in Les Contes d'Hoffmann, Amelia in Simon Boccanegra, and Tatiana in Eugene Onegin. She returned to America for what she described as a \"fateful\" debut of Marie in Wozzeck with the San Francisco Opera in 1960, although she credits the performance of Beatrice di Tenda with Joan Sutherland at Town Hall as her \"big break.\" Over the next few decades, Marilyn Horne would perform in America and internationally as one of the world's most sought-after mezzo-sopranos. She would spend twenty-six years at the Metropolitan Opera in New York, sing thirty-nine seasons at the San Francisco Opera, and guest star at countless opera houses across the globe. She would perform over 1,300 recitals with artists such as Martin Katz and Don Pippin. She would continue to work with Joan Sutherland, and the other leading opera singers of the time, including Leontyne Price, Montserrat Caballé, Luciano Pavarotti, and Beverly Sills, as well as the best conductors in the world, including Riccardo Muti and Zubin Mehta, among many, many others.</p> <p>Over the course of her career, Marilyn Horne has been awarded honorary degrees from The Juilliard School, The Johns Hopkins University, San Francisco Conservatory of Music, and the University of Pittsburgh. She has been inducted into the Hollywood Bowl Hall of Fame and the American Classical Music Hall of Fame. She has won the National Medal of the Arts (1992), The Covent Garden Silver Medal for Outstanding Service, the Fidelio Gold Medal from the International Association of Opera Directors, four GRAMMY awards (1963, 1981, 1983, and 1993), a Lifetime Achievement Award from Gramophone, and has been awarded both the Commander of the Order of Arts and Letters from France's Minister of Culture and the Commendatore al Merito della Repubblica Italiana. She was a 1995 Kennedy Center Honors recipient, received the inaugural Rossini Medaglia d'Oro for her work as a Rossini singer, and was presented with an award for excellence in opera from the National Endowment for the Arts in 2009.</p> <p>On her sixtieth birthday, Marilyn Horne announced that she had founded the Marilyn Horne Foundation, which is now a part of Carnegie Hall's Weill Music Institute. Horne states that the Foundation's mission is \"to support, encourage, and preserve the art of singing through the presentation of vocal recitals and related educational activities.\" Though retired from performance, she frequently gives masterclasses at a number of conservatories and programs, including Oberlin Conservatory of Music, Music Academy of the West (for which she now serves as Honorary Director), the Curtis Institute, and the Metropolitan Opera Lindemann Program.</p> <p>Papers regarding The Marilyn Horne Foundation, as well as recordings and photographs from her personal collection, reside at the Marilyn Horne Museum and Exhibit Center at the University of Pittsburgh at Bradford, located on Marilyn Horne Way.</p>"}
- arrangement
-
{"value"=>"<p>The Marilyn Horne Score Collection is arranged into four series: (1) Marilyn Horne's Annotated Scores; (2) Other Scores, Books, Plays and Materials; (3) Scores that are signed by Marilyn Horne but otherwise contain little or no markings; and (4) Marilyn Horne Subject Files. Scores are arranged alphabetically by composer within each series. In cases where multiple version of the same work are present, scores are arranged alphabetically by publisher. This collection reflects both Marilyn Horne's performance and teaching career, though the bulk of the collection consists of scores that Horne used in preparation for her performances. These scores are not just of operas and of the Rossini and Handel works for which she is best known, but are also of oratorios, symphonies, choral works, art songs, folk songs, and individual arias. The collection additionally contains subject files, the contents of which range from individual songs, both known and rare, to correspondence with friends and colleagues.</p> <p>The first series, Marilyn Horne's Annotated Scores, contains those materials that have her personal markings, and is divided into four distinct sections: Annotated opera and musical theatre scores; Annotated religious, oratorio, symphonic, and choral repertoire; Annotated song anthologies and individual copies of songs and arias; and Annotated and inscribed scores with annotations by Marilyn Horne. These scores are arranged alphabetically by the composer's name. Some scores have rehearsal schedules, correspondence, cut lists, or alternate ornamentations tucked inside; these items have been separated and can be found in the Marilyn Horne Subject Files series. Some scores that have Marilyn Horne's markings in them, but were gifts or include autographs, have been separated and can be found in the \"Other scores, books, plays, and materials\" series.</p> <p>The second series, Other Scores, Books, Plays, and Materials, is arranged into ten subseries: Signed and autographed items that are without annotations by Marilyn Horne; Scores gifted from the Mailbran Society; The Etelka Gerster song anthology collection; Angela Lewis and Henry Lewis scores; Library of Congress Women's score series; Manuscript scores with or without signatures; Choral scores and miscellaneous additional materials; Scores with signatures other than those of Marilyn Horne; Pedagogical textbooks and other published training resources; and Performance binders. Most of these scores do not contain markings that have been clearly made by Marilyn Horne, though many of the performance binders contain notes. The third series, Scores that are signed by Marilyn Horne, but otherwise contain little or no markings, includes materials that might have light pencil markings on the song index, or just a signature on either the front or inside covers.</p> <p>The final series, Marilyn Horne's Subject Files, contains files that consist of photocopied scores of individual art songs and arias, correspondence, handwritten music, arrangements (especially from 1990-2010), programming ideas, and other loose music-related items. This collection preserves Horne's original titles and arrangement of folders, with minor exceptions: those items that were oversized have been separated and arranged alphabetically, and those items that were removed from scores have been rehoused in box 172.</p>", "supress_display"=>true}
- acqinfo
-
{"value"=>"<p>Collection was donated by Marilyn Horne in 2018.</p>"}
- processinfo
-
{"value"=>"<p>Processed by Rachel Liss in 2019-2020.</p>"}
- date_start
-
1844
- keydate
-
1844
- date_end
-
2013
- date_inclusive_start
-
1844
- date_inclusive_end
-
2013
- extent_statement
-
87 linear feet : 175 boxes
- prefercite
-
{"value"=>"Marilyn Horne Collection of Scores, JPB 19-05. Music Division, The New York Public Library for the Performing Arts"}
- scopecontent
-
{"value"=>"<p class='list-head'>The Marilyn Horne Collection of Scores are arranged in four series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/mus/30063#c1574826'>Scores annotated by Horne</a></div>\n<div class='series-description'><p>The materials in this series includes scores that contain Marilyn Horne's personal markings. Most of these scores are signed by Horne, either by handwriting or by personal stamp. The handwritten notations can include translations, phrasings, where to breathe, dynamics, alternate cadenzas, and notes regarding acting and emotional interpretation. Many scores have moments where the conductor or music director decided to not perform certain sections of the music, called cuts, marked. These cuts are shown either with paper clips, vi-de notes to mark the beginning and end of the cut, or by crossing out sections of the music. A great deal of the scores have the vocal line Horne sang highlighted or underlined. Some scores have reherasal schedules and phone numbers written in, usually on the cover or inside cover, which are occasionally accompanied by notes from the director or conductor. Some scores had rehearsal schedules, correspondences, cut lists, or alternate cadenzas tucked inside; these items have been separated and can be found in the Marilyn Horne Subject Files series. Some scores that had Marilyn Horne's markings in them but were gifts or had autographs have been separated and can be found in the \"Other scores, books, plays, and materials\" series.</p></div></li><li><div class='series-title'><a href='/mus/30063#c1575328'>Other Scores, Books, Plays, and Materials</a></div>\n<div class='series-description'><p>This series includes scores that contain markings by composers, arrangers, colleagues, conductors, as well as friends, and family of Marilyn Horne. The materials include scores that belong to either Henry or Angela Lewis; manuscript scores; operatic, oratorio, choral, and anthologies signed by their original composers or by colleagues such as Zubin Mehta; books or plays with notes from their respective authors; and scores that have markings by other musicians, such as Etelka Gerster, Andrew Meltzer, and Richard Bonynge, among others.</p></div></li><li><div class='series-title'><a href='/mus/30063#c1575533'>Scores that are signed by Marilyn Horne but otherwise contain minimal marking</a></div>\n<div class='series-description'><p>The scores in this series have Marilyn Horne's signature on them, either in handwriting or with a personnal stamp, but are otherwise unannotated.</p></div></li><li><div class='series-title'><a href='/mus/30063#c1575747'>Subject files</a></div>\n<div class='series-description'><p>This series contains Marilyn Horne's files, which consist of photocopied scores of individual art songs and arias, correspondences, handwritten music, arrangements - especially from 1990-2010, programming ideas, and other loose music-related items.</p></div></li></ul>\n", "type"=>"arrangement"}