- unitid
-
{"value"=>"JPB 97-44", "type"=>"local_call"}
{"value"=>"20244", "type"=>"local_mss"}
- unitdate
-
{"type"=>"inclusive", "normal"=>"1895/1996", "value"=>"1895-1996"}
- date_inclusive_start
-
1895
- date_inclusive_end
-
1996
- keydate
-
1895
- date_start
-
1895
- date_end
-
1996
- unittitle
-
{"value"=>"Frank Wigglesworth papers"}
- physdesc
-
{"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"432 linear ft."}, {"name"=>"physfacet", "value"=>"95 boxes"}], "supress_display"=>true}
- repository
-
{"value"=>"<span class=\"corpname\">The New York Public Library. Music Division.</span> <div class=\"address\"> <span class=\"addressline\">New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center</span> <span class=\"addressline\">40 Lincoln Center Plaza, New York, NY 10023-7498</span></div>"}
- abstract
-
{"value"=>"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."}
- langmaterial
-
{"value"=>"Chiefly in English ; also contains material in Latin, Italian, French, German, Spanish, Greek, and Polish"}
- prefercite
-
{"value"=>"<p>Frank Wigglesworth papers, Music Division, The New York Public Library</p>"}
- origination
-
{"value"=>"Wigglesworth, Frank, 1918-1996", "type"=>"persname"}
- bioghist
-
{"value"=>"<p>Frank Wigglesworth was born on March 3, 1918, into a prominent Boston family that also counts Elizabeth Sprague Coolidge and Oliver Wendell Holmes among its members. As a child he played both violin and viola, and began composing at the age of eleven. He attended Bard College, where he studied composition with Ernest White, played in the faculty-student string quartet, and served on the board of the Intercollegiate Music Guild. By 1938 he had begun composition studies with Otto Luening.</p> <p>After graduating in 1940, with an opera as his senior thesis, Wigglesworth enrolled at Converse College in South Carolina. While there, he also taught, played viola, and conducted the local opera chorus. During the summer he attended the Bennington School of the Arts, a festival associated with Martha Graham, and composed his <em>New England Concerto</em> for violin and string orchestra. Shortly before his graduation from Converse, Wigglesworth was drafted into the U. S. Army and served as a control tower operator in the South Pacific. After his discharge in 1945, he received an Alice M. Ditson Fellowship from Columbia University.</p> <p>In 1946-1948 Wigglesworth taught at the Greenwich House Music School and composed numerous vocal and instrumental works. He pursued advanced studies with both Henry Cowell and Edgard Varèse, and chaired the editorial boards of New Music Edition and New Music Recordings. In 1948 he married the artist Anne Parker and began teaching at Columbia University, where he also organized the New Music concert series. In 1951, as he was completing the ballet score <em>Young Goodman Brown,</em> Wigglesworth was honored by both the National Institute of Arts and Letters and the American Academy in Rome. He spent the next three years in Italy, composing his first symphony and other works.</p> <p>Upon returning to New York, Wigglesworth taught at the New School for Social Research, Queens College, and the Dalcroze School. He continued writing for both small and large ensembles, completing two more symphonies, a second ballet, and incidental music to Shakespeare's <em>Hamlet.</em> In 1965 he was awarded a MacDowell Colony Fellowship, and in 1969-70 he was Composer-in-Residence at the American Academy in Rome. Back in New York in 1970, Wigglesworth took up chefs training at New York Technical College. He also composed two Mass settings, numerous chamber works, and songs.</p> <p>Throughout the 1970s, 80s, and early 90s, Wigglesworth served as an officer in several organizations devoted to the arts and new music, including the American Composers Alliance, the American Music Center, Composers' Forum, the Chamber Music Conference and Composers Forum of the East, Composers' Recordings, Inc., the MacDowell Colony and the Virgil Thomson Foundation. He rejoined the faculty of the Greenwich House Music School, and in his capacity as Artistic Director of three concert series, gave valuable performance opportunities to countless composers.</p> <p>In 1988 Wigglesworth's friends and colleagues organized a concert of his works in honor of his 70th birthday. A year later the American Composers Alliance presented him with a Laurel Wreath Award for distinguished achievement in fostering and encouraging American music (as an officer of that organization he was ineligible for its better-known Laurel Leaf Award). To mark his 75th birthday, another concert was held, and the Manhattan Borough President proclaimed March 3, 1993, to be \"Frank Wigglesworth Day\". Wigglesworth died on March 20, 1996, at the age of 78. He is survived by his daughter Philio Wigglesworth Cushing, and son Henry Cowell Wigglesworth.</p> <p>Sources:</p> <p>\"Frank Wigglesworth\". Brochure issued by Broadcast Music, Inc. (New York, n. d).</p> <p>Komarov, Jane. \"Frank Wigglesworth: GHMS Elder Statesman\". <em>Quarter Notes</em> 3: 2 (Spr 1991).</p> <p>Luening, Otto, with Barbara H. Renton. \"Wigglesworth, Frank\". <em>The New Grove Dictionary of American Music,</em> vol. 4 (New York, 1986), p. 524.</p>"}
- scopecontent
-
{"value"=>"<p>The music, papers, iconography, and books in the Frank Wigglesworth Papers represent the activities and interests of their namesake. The collection accumulated naturally as Wigglesworth pursued his career as a composer and educator, and is augmented by documents related to the many organizations that he served as a board member or officer. The bulk of the collection falls between 1940 and 1996, the period from Wigglesworth's college graduation to his death.</p> <p>The Wigglesworth Papers have been organized largely according to Wigglesworth's original plan. Musical scores and parts have been separated from biographical and archival materials. The musical materials, identified as Series A in the finding aid, are divided into four subseries, based on composer (Wigglesworth's scores or those of other composers) and format (printed or manuscript). Supplementary papers concerning Wigglesworth's ideas for compositions constitute a fifth subseries.</p> <p>Series B of the Wigglesworth Papers consists of biographical materials. Personal correspondence with such well-known figures as Henry Cowell, Lou Harrison, Otto Luening, Maurice Sendak, Adlai Stevenson, Virgil Thomson, and Edgard Varèse can be found in the first subseries; Harrison's letter of February 12, 1952, contains the autograph score of his Serenade for Guitar, spontaneously composed for Wigglesworth. The second subseries is a biographical subject file that covers such topics as Wigglesworth's education, hobbies, and personal documentation.</p> <p>Over the course of his lifetime, Frank Wigglesworth worked closely with numerous organizations devoted to the arts, and to new music in particular, such as the American Composers Alliance, the American Music Center, Composers' Forum, Composers' Recordings, Inc., the New York Youth Symphony, and the Virgil Thomson Foundation. As a result, he accumulated a vast collection of paperwork documenting the inner workings of these groups. These materials constitute Series C of the Wigglesworth Papers, which is divided into subseries by organization.</p> <p>Series D is an artificially created performance file of Wigglesworth's compositions. Programs and other supplementary material documenting performances of his works have been brought together and organized by title. Series E consists of teaching materials (those not clearly identified with the organizations in Series C) and Wigglesworth's writings, including concert reviews that he prepared for music festivals near his summer home in Ipswich, Massachusetts. Miscellaneous materials, including appointment calendars and a small collection of iconography, have been gathered into Series F of the Wigglesworth Papers, while Series G is comprised of books with annotations by Wigglesworth and others.</p> <p>The Frank Wigglesworth Papers document the life's work of a composer who was as devoted to the music of his colleagues as he was to his own. For this reason, the collection should interest anyone studying the American new music scene in the second half of the 20th century.</p>"}
{"value"=>"<p class='list-head'>The Frank Wigglesworth papers are arranged in seven series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/mus/20244#c1212198'>Series A: Musical Scores</a></div>\n</li><li><div class='series-title'><a href='/mus/20244#c1212929'>Series B: Personal Files</a></div>\n</li><li><div class='series-title'><a href='/mus/20244#c1213086'>Series C: Organizational Papers</a></div>\n</li><li><div class='series-title'><a href='/mus/20244#c1213454'>Series D: Performance File</a></div>\n</li><li><div class='series-title'><a href='/mus/20244#c1213539'>Series E: Writings and Teaching Materials</a></div>\n</li><li><div class='series-title'><a href='/mus/20244#c1213563'>Series F: Miscellaneous Materials</a></div>\n</li><li><div class='series-title'><a href='/mus/20244#c1213656'>Series G: Annotated Books</a></div>\n</li></ul>\n", "type"=>"arrangement"}
- arrangement
-
{"value"=>"<p>A/1. Frank Wigglesworth's printed scores; A/2. Frank Wigglesworth's manuscript scores; A/3. Other composers' printed scores; A/4. Manuscript scores of other composers; A/5. Frank Wigglesworth's ideas for composition; B/1. Personal correspondence; B/2, Personal subject files; C. Organizational papers (C/1. American Academy in Rome; C/2. American Composers Alliance; C/3. American Music Center; C/3a. Broadcast Music, Inc.; C/4. Century Association; C/5. Chamber Music Conference and Composers' Forum of the East; C/6. Composers' Forum; C/7. Composers Recordings, Inc.; C/8, Greenwich House Music School; C/9. MacDowell Colony; C/10. The New School; C/11. New York Youth Symphony; C/12. Virgil Thomson Foundation; C/13. Miscellaneous organizations); D. Performance file; E. Writings and teaching materials; F. Miscellaneous materials (F/2. Iconography; F/3. Appointment calendars); G. Annotated books</p>", "supress_display"=>true}
- acqinfo
-
{"value"=>"<p>Anne Wigglesworth (1997)</p>"}
- processinfo
-
{"type"=>"processing", "value"=>"<p>Processed by Linda B. Fairtile, with the assistance of Leslie Foss and Benjamin Wright.</p>"}
- extent_statement
-
432 linear ft. : 95 boxes