José Limón papers

Description data TOP

unitid

{"value"=>"19669", "type"=>"local_mss"}

{"value"=>"(S) *MGZMD 24", "type"=>"local_call"}

unitdate

{"value"=>"circa 1927-1972", "type"=>"inclusive", "normal"=>"1927/1972", "certainty"=>"approximate"}

unittitle

{"value"=>"José Limón papers"}

physdesc

{"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"43 boxes", "unit"=>"containers"}, {"name"=>"extent", "value"=>"17.58 linear feet", "unit"=>"linear_feet"}]}

{"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"48 moving_image_recordings", "unit"=>"moving_image_recordings"}]}

repository

{"value"=>"<span class=\"corpname\">Jerome Robbins Dance Division</span>"}

abstract

{"value"=>"José Limón was a Mexican-born dancer and choreographer. The José Limón papers mainly document the personal life of Limón and his wife Pauline Lawrence Limón during the 1930s and 1940s and the professional life of the Limóns from the 1940s until 1972."}

langmaterial

{"value"=>"English"}

bioghist

{"value"=>"<p>On January 12, 1908, José Arcadia Limón was born in Culiacán, Sinaloa, Mexico. His father, Florencio Limón, was a musician, conductor, and the director of the State Academy of Music. Limón's mother, Francisca Traslaviña, bore eleven children (four of whom died in infancy) of whom José was the eldest. The toil of so many pregnancies resulted in her death at the age of 34.</p> <p>After wandering from one northern city to another, Limón's father finally moved the family to the United States to escape the terror and violence of the revolution in Mexico. José was seven when he and his family left Mexico for Tucson, Arizona. Eventually, the Limóns settled in Los Angeles. Graduating in 1926, Limón was an excellent student in high school and intended to pursue a career as a painter/artist. He enrolled at the University of California at Los Angeles and took art classes at a private studio. He soon abandoned his studies, however, to journey to New York. Three friends, Don Forbes, Perkins Harnly, and Fernando Felix, who had introduced Limón to contemporary and avant-garde art in Los Angeles, had moved to New York and prompted Limón to do the same.</p> <p>While in New York, Limón's passion for a career in art dissipated, and a chance visit to a dance concert by Harald Kreutzberg and Yvonne Georgi inspired Limón to undertake a career in dance. Don Forbes and Perkins Harnly recommended that José study with Charles Weidman (whom they knew from their youth in Lincoln, Nebraska) at the Humphrey-Weidman Studio. From 1928 to 1940 Limón was a pupil and dancer with Doris Humphrey and Charles Weidman. In addition, he performed in Broadway shows, such as Norman Bel-Geddes' production of <span class=\"title\">Lysistrata</span>by Aristophanes, J. P. Envoy's musical revue <span class=\"title\">Americana,</span>and Irving Berlin's <span class=\"title\">As Thousands Cheer.</span></p> <p>In 1940 Limón left the Humphrey-Weidman Company to embark on a solo career as dancer and choreographer. During the 1930s Limón had choreographed a half dozen pieces and had taught dance at Bennington College, Temple University, the University of Pittsburgh, Colorade State College of Education, the University of California at Berkeley, and Mills College. On the west coast in 1940-41, he continued his teaching and performed many concert engagements with May O'Donnell as his partner.</p> <p>On October 4, 1941, José Limón and Pauline Lawrence were married in San Francisco. Limón had met Pauline thirteen years before, when he first attended classes at the Humphrey-Weidman Studio. Pauline was the receptionist there, as well as accompanist, business manager, and costume designer. After his marriage Limón returned to New York as guest artist of the season at the Studio Theatre, where he performed leading roles in many works directed by Doris Humphrey. He also appeared on Broadway in the leading dance role of <span class=\"title\">Rosalinda.</span></p> <p>In March 1943 Limón was inducted into the army, although he did not become a U.S. citizen until 1947. At first, Limón served as a truck driver in the quartermaster corps but then received a transfer to the Special Services Division. He directed and performed in dances, pageants, and shows. During his off-hours, he rehearsed for concerts that he performed with Dorothy Bird and Beatrice Seckler on his furlough. When he was finally discharged, Limón organized a new company with Doris Humphrey as choreographer and artistic director.</p> <p>José Limón and Company made annual tours of the United States during its first years. Limón's first major choreographic triumph was \"The Moor's Pavane\" in 1949, for which he won the Dance Magazine Award in 1950. That same year Limón and his company performed in Paris and in Mexico, at the invitation of Miguel Covarrubias, then Director of the Academia Nacional de Bellas Artes. Limón returned to Mexico City twice in 1951.</p> <p>In 1954 José Limón and Company became the first dance company sent abroad on a cultural mission by the United States State Department. Under the auspices of the American National Theatre and Academy and the State Department, Limón first made a tour of South America, then a tour of Europe in 1957, a tour of South and Central America in 1960, and a tour of the Far East and Australia in 1963. The José Limón Dance Company also toured the Soviet Union in 1973, just after Limón's death.</p> <p>Since 1948 the Limóns spent every summer in residence at the Connecticut College School of Dance, and each year Limón appeared at the American Dance Festival held there. From 1954 until his death, Limón was a member of the dance faculty at the Juilliard School of Music. José Limón and Company opened the first dance performance at the New York Shakespeare Festival Theatre in Central Park on September 4, 1962. While artistic director of the American Dance Theatre, Limón gave the first dance performance ever at Lincoln Center in 1963. Honors that Limón received include a second Dance Magazine Award in 1957, the Capezio Dance Award in 1964, and four honorary doctorates from Wesleyan University, Colby College, the University of North Carolina, and Oberlin College.</p> <p>José Limón was a consistently productive choreographer and an active dancer until 1969. His first choreographic efforts began in 1931 with Eleanor King, and from 1949 to 1972 he choreographed at least one new piece each year. He received commissions for choreographic works from the American Dance Festival, the Empire State Festival, the Instituto Nacional de Bellas Artes of Mexico, and the Federal Arts Council in the United States. Perhaps his greatest achievement was the formation of a modern dance company able to survive the death or retirement of its founder. His was the first to remain as a performing unit after his death on December 2, 1972.</p>"}

scopecontent

{"value"=>"<p>The José Limón papers mainly document the personal life of the Limóns during the 1930s and 1940s and the professional life of the Limóns from the 1940s until 1972. The Pauline Lawrence Limón collection [(S) *MGZMD 15] is intrinsically linked with the José Limón papers, and, as a whole, either collection can only be used effectively in conjunction with the other. In addition, the Doris Humphrey collection [(S) *MGZMC-Res. 3] includes letters written by José Limón and by Pauline Lawrence, as well as other material pertaining to them.</p> <p>Personal letters in the José Limón papers can be found from 1927 through 1972, but their length and the quantity of letters from certain correspondents decrease, for the most part, after the 1940s. A few correspondence series have been separated from the general yearly correspondence lists. These include all letters between José and Pauline Limón and letters written to Pauline Lawrence from Doris Humphrey, Humphrey Fry, Paul Love, Helen Mary Robinson, and Charles Humphrey Woodford. The majority of personal correspondence for José or Pauline Limón has been arranged by year, and each correspondent has been listed alphabetically by name.</p> <p>The professional correspondence, which spans forty years (1933 to 1972), has been sorted entirely by date with no index to or listing or correspondents. This series includes bills, contracts, and copies of letters sent by the Limóns, in addition to letters sent to them. Miscellaneous correspondence series have been identified in the \"Series Description\" and include letters from the Limóns' foster child, items related to property jointly owned by Charles Weidman and José Limón in the 1930s, and invitations to the White House.</p> <p>The remaining material in the manuscript collection breaks down into writings, professional material, legal documents and memorabilia, and financial records. Writings in the José Limón papers include a handwritten, unpublished autobiography that chronicles Limón's life through 1942. Addresses, essays, and lectures written by Limón, by Doris Humphrey, and by others can also be found. In \"Miscellaneous,\" section VIII of the \"Series Description,\" are the daily calendars and diaries of the Limóns. They are particularly useful not only for dating events, but because José Limón often recorded in them his reactions to daily experiences—such as a performance by Charles Weidman or the difficulties of managing some of the company members or the ordeal of surgery for removal of cancerous tissue and organs. Frequently these entries are written in Spanish.</p> <p>Professional material in the José Limón papers (other than the correspondence) consists of choreographic and production notes for works by José Limón and by Doris Humphrey, baggage inventories, costuming notes, press articles, program drafts, and tour/performance schedules. Most of this material pertains to José Limón and Company; there is only slight representation of the Humphrey-Weidman Company and José Limón's solo efforts before World War II.</p> <p>Legal documents and memorabilia include José Limón's high school diploma and yearbook, his four diplomas for honorary Ph.D.'s, awards, the Limóns' marriage license, passports, and visas. The financial records, dating from 1948 to 1969, consist of cancelled checks, bank statements, paycheck stubs, and hotel bills. Any apparent gaps or missing items can undoubtedly be found in the financial sections of the Pauline Lawrence Limón Collection.</p> <p>Moving image recordings depict José Limón and the Limón Dance Company rehearsing, performing, and touring.</p> <p>Certain non-manuscript materials received with the original gift have been removed from the José Limón papers. All newspaper and magazine articles, programs, posters, photographs, three-dimensional objects, and sheet music have been dispersed throughout the Dance Collection or given to the Music Division--see the Separated Materials note for more information.</p>"}

{"value"=>"<p class='list-head'>The José Limón papers are arranged in ten series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/dan/19669#c1927415'>Series I: Correspondence</a></div>\n<div class='series-date'>1927-1973</div>\n<div class='series-extent'>7.33 linear feet (18 boxes)</div>\n<div class='series-description'><p>Personal letters in the José Limón papers can be found from 1927 through 1972, but their length and the quantity of letters from certain correspondents decrease, for the most part, after the 1940s. A few correspondence series have been separated from the general yearly correspondence lists. These include all letters between José and Pauline Limón and letters written to Pauline Lawrence from Doris Humphrey, Humphrey Fry, Paul Love, Helen Mary Robinson, and Charles Humphrey Woodford. The majority of personal correspondence for José or Pauline Limón has been arranged by year, and each correspondent has been listed alphabetically by name.</p></div></li><li><div class='series-title'><a href='/dan/19669#c1927529'>Series II: Writings of José Limón</a></div>\n<div class='series-date'>1944-1977</div>\n<div class='series-extent'>1.33 linear feet (4 boxes)</div>\n<div class='series-description'><p>Includes drafts of Limón's autobiography, addresses, essays, and lectures.</p></div></li><li><div class='series-title'><a href='/dan/19669#c1927564'>Series III: Choreographic and Production Notes</a></div>\n<div class='series-date'>1933-1969</div>\n<div class='series-extent'>0.83 linear feet (2 boxes)</div>\n<div class='series-description'><p>Includes works of José Limón and Doris Humphrey.</p></div></li><li><div class='series-title'><a href='/dan/19669#c1927598'>Series IV: Dance Chronologies</a></div>\n<div class='series-extent'>0.42 linear feet (1 box)</div>\n<div class='series-description'><p>Includes works by José Limón, Doris Humphrey, and others.</p></div></li><li><div class='series-title'><a href='/dan/19669#c1927602'>Series V: Professional Material</a></div>\n<div class='series-date'>1938-1970</div>\n<div class='series-extent'>1.92 linear feet (5 boxes)</div>\n<div class='series-description'><p>Includes baggage inventories, costuming notes, press articles, program drafts, and tour/performance schedules.</p></div></li><li><div class='series-title'><a href='/dan/19669#c1927638'>Series VI: Legal Documents and Memorabilia</a></div>\n<div class='series-date'>1926-1971</div>\n<div class='series-extent'>1.08 linear feet (3 boxes)</div>\n<div class='series-description'><p>Material includes diplomas and awards, the Limóns' marriage license, passports and visas, and José Limón's high school yearbook.</p></div></li><li><div class='series-title'><a href='/dan/19669#c1927664'>Series VII: Miscellaneous Writings</a></div>\n<div class='series-extent'>0.83 linear feet (2 boxes)</div>\n<div class='series-description'><p>Articles written by people other than José Limón but found in his papers, including some written by Doris Humphrey.</p></div></li><li><div class='series-title'><a href='/dan/19669#c1927688'>Series VIII: Miscellaneous</a></div>\n<div class='series-date'>1942-1970</div>\n<div class='series-extent'>3.33 linear feet (8 boxes)</div>\n<div class='series-description'><p>Material includes José Limón's and Pauline Lawrence Limón's daily calendars and diaries (1942-1970), addresses and calling cards, medical bills, and correspondence from the Limóns' accountants.</p></div></li><li><div class='series-title'><a href='/dan/19669#c1927697'>Series IX: Financial Records</a></div>\n<div class='series-date'>1948-1969</div>\n<div class='series-extent'>4.58 linear feet (11 boxes)</div>\n<div class='series-description'><p>Material includes cancelled checks, bank statements, paycheck stubs, and hotel bills.</p></div></li><li><div class='series-title'><a href='/dan/19669#c1927716'>Series X: Moving Image Recordings</a></div>\n<div class='series-date'>1945-1970</div>\n<div class='series-extent'>48 moving_image_recordings</div>\n<div class='series-description'><p>Includes recordings of José Limón and the José Limón Dance Company rehearsing and performing; footage of the company on tour in the Philippines, South America, and Warsaw; and some recordings of dances by other choreographers including Kate Forbes, Jerome Robbins, and Mia Slavenska.</p></div></li></ul>\n", "type"=>"arrangement"}

acqinfo

{"value"=>"<p>Gift. Charles Tomlinson. Received: 1974.</p>"}

separatedmaterial

{"value"=>"<p>The following material was received with the original gift but has been separated from the manuscript collection. The current location of the material (as of June 1980) is indicated.</p> <p>Audiovisual materials separated from archival collections are cataloged individually and can be found in the Library catalog.</p> <p>Three-dimensional objects - Location: Dance Collection, 3-d cabinets: Connecticut College Medallion, 5/31/71, Dance Magazine award, 1957, Fabric swatches, Figure of Christ, French medal, Ruth St. Denis/Ted Shawn golden anniversary medallion, 8/13/64.</p> <p> Books (approximately 300 titles) - Location: Dance Collection, basement</p> <p>Photographs (12 boxes) - Location: Dance Collection, basement</p> <p>Posters - Location: Dance Collection, poster drawers</p> <p>Programs, clippings, and magazines (15 cartons) - Location: Dance Collection, basement</p> <p>Music scores Music manuscripts (see attached list) - Location: Music Division Music (printed) with choreographic notes and/or markings (see attached list) - Location: Dance Collection, *MGYB + (Limon) 80-1853 (Basement) Music (printed) without choreographic annotations (see attached list) - Location: General Music Library, Lincoln Center and P.A.R.C. Bazaar Phonodiscs (see attached list) - Location: Rodgers and Hammerstein Archives of Recorded Sound</p> <p>Separated Material - Phonodiscs June 1980 Agnes De Mille. Open end interview, Bantam Books, New York. New York, Rockhill Recording [n.d.] 1 s. 33 1/3 rpm. 12 in. Hi Jinx. Guest: Agnes De Mille. NBC, January 7, 1949. New York, National Broadcasting Co., 1949. 3 discs (6 s.) 78 rpm. 12 in. McCall's - Agnes De Mille. Segment on \"The world today.\" WOR, July 5, 1961, 8:05-8:30 P.M. New York, Barkas and Shalit, Inc., Public Relations, 1961. 1 s. 12 in. 78 rpm.(?) De Mille, Anna George. \"The problem of poverty.\" New York, Audio-Scriptions, Inc., 1937. 2 discs (4 s.) 78 rpm. 12 in. Electrical broadcast transcription. Broadcast on WQXR, April 20, 1937. (Anna George De Mille, was the daughter of Henry George, the political economist, and mother of Agnes George De Mille, the choreographer)</p> <p> Separated Material - Music Mansucripts (Given to the Music Division, NYPL) Aitken, Hugh. Circe's solo[from I, Odysseus]10 leaves. Ms., in pencil. Piano solo. [Section VI, Circe, the enchantress, in José Limón's ballet, I, Odysseus,first performed August 18, 1962, at the American Dance Festival, New London, Connecticut. Danced by Ruth Currier. Musical score commissioned by the Juilliard School] Arcadio, J. Danza.For José Limón. Aug. 1945. [ii], 4 p. Ms., in pencil. Piano solo. [Used for José Limón's Danza,first performed August 1945 at Jacob's Pillow, Mass.] Cazden, Norman. Ballade,for piano and string quartet or string orchestra, op. 37. Based on a song by Woody Guthrie. Piano-[conductor] score. Nov. 1941. 16 p. Ms. (photocopy) [Used for Reel,part one of José Limón's ballet, Western folk suite,in 1943] _____. Ballads.13 p. Ms., in ink. Piano solo. Includes 2 p. of text (lyrics?), ms., in pencil. [Same music as above] _____. Ballad,based on a song by Woody Guthrie. Opus 37 n. 1. For José Limón. Nov. 1941. 5 p. Photocopy of ms. Piano solo. [Same music as above] _____. Durch Adam's Fall ist ganz verderbt. Aus tiefer Not schrei' ich zu Dir.For Doris Humphrey and José Limón. Version by Norman Cazden, 1942. [2] p. Ms., in ink. Piano solo. Clarke, Henry Leland. Danza de la muerte.1937. 5 p. Ms. (photocopy). For oboe [UNK] [Used for José Limón's ballet of the same name. Also had music by Norman Lloyd. First performed August 13, 1937 at Bennington College, Bennington, Vermont] Engel, Carl. Triptych.For violin and piano. Boston, Boston Music Co., c1920. Pl. no.: B.M. Co. 6294C. 47 p. with ms. pages (in pencil) inserted after p. 10, 14, 20. The insertions are titled: Dorothy's first entrance; Dorothy's second entrance; José's solo; Duett - Merton Brown. [Used for José Limón's ballet, Eden tree,first performed April 11, 1945, in Orange, New Jersey] Foss, Lukas. The Song of songs;second biblical solo cantata. June-August 1946. 31 p. Photocopy of ms. Signed at end: Lukas Foss, 1946. For soprano orchestra. Inscribed in ink on p. [1]: 6.20.1947 To José Limón. In eager anticipation. From an admiring friend and fan. Lukas Foss. Accompanied by printed program for premiere of the ballet by José Limón. [Used for José Limón's The Song of songs,first performed August 20, 1947 in Boston] Gittes, Cicely Foster. The olive pickers.Ballet. [n.d.] score, and reduced score (for 2 pianos percussion) Ms., in ink. Also includes scenario for parts I-III (1 leaf, ms., in ink) and 1 sheet of the composer's letterhead stationery. Harris, Roy. Concerto:I. score ([4] p.) For prima and seconda. Ms., in pencil. Appears to be incomplete. Arranged by A. Lehman Engel. [Probably his Concerto for string quartet, clarinet and piano which was used for Doris Humphrey's ballet, Duo-drama,first performed January 6, 1935, Guild Theatre, New York] Jiménez, Carlos. Petit prélude(1a min.) Bruxelles, J. Buyst [n.d.] 2 p. For piano. [May have been used as part I of a choreographed work, of which parts II and III are listed below] _____. II. Introducción, arietta y variaciones.III. Final.1952. p. 13-3 For strings. [Title of full work unknown] Photocopy of ms. copy. Lloyd, Norman. Dialogues.Dance in two parts for José Limón. July-Aug. 1950. score (44, 42 p.), ms. in ink. score (44, 42 p.), negative photostat. piano reduction (18 p.), ms. in ink. 27 orchestral parts, each in 2 sections, ms. in ink photostat. [Used for José Limón's ballet, Dialogues,first performed in April 1951 at the Palacio de Bellas Artes, Mexico City by Ballet Mexicano] _____. La Malinche.2 scores (incomplete), photostats of ms. copy, 13 parts (5 for B-flat trumpet 8 for percussion), ms. in ink photostat. [Used for José Limón's dance, La Malinche,first performed May 1947, in Boston, Mass.] _____. Inquest.conductor's score (34 p.), ms., in pencil and ink, and piano score (17 p.), photocopy (?) of ms. copy. Also includes Narrator's part (4 leaves, typescript) [Used for Doris Humphrey's ballet. See below] _____. Affirmations,from Inquest.2-hand arrangement. 4 p. Photocopy of ms. 2 copies. [Used for Doris Humphrey's ballet, Inquest,first performed March 5, 1944, at the Humphrey-Weidman Studio, New York] _____. I. Hoch!II. Viva!III. Ave.For José Limón, Bennington - Aug. 1937. 6, 4, 4 p. Piano score. Ms., in ink. [Used for the 2d part of José' Limón's ballet, Danza de la muerte,first performed August 13, 1937 at Bennington College, Bennington, Vermont] _____. Invention.1949. 14 p. Piano score. Negative photostat of ms. [Used for Doris Humphrey's dance, Invention,first performed on August 13, 1949 at the American Dance Festival, New London, Connecticut by the José Limón Dance Company] _____. Music for Charles Weidman's techniques.5 p. For piano. Photocopy of ms. 2 copies. Contents: Prelude and Front elevation series; 3 planes; Space [UNK] design. Lloyd, Norman. Studies in body mechanics - Charles Weidman.4 p. For piano. Ms., in ink. _____. Doris Humphrey variations: Design scale.[1] leaf. For piano. Ms., in ink. _____. Doris Humphrey: Study in falls.3 p. For piano. Ms., in ink. Mamorsky, Morris. Connecting forms.Doris Humphrey technique. 4 p. For piano. Photocopy of ms. 3 copies. _____. Falls.Doris Humphrey technique. 1 leaf. For piano. Photocopy of ms. Marx, Burle. Samba concertantefor 2 pianos. c1960. 2-piano score (25 p.) 2 copies. Blue print of ms. Mozart, Wolfgang Amadeus. Fantasie and fugue in C major, K. 394.Transcribed for string orchestra by Simon Sadoff. score (12 p.) and 10 parts. score is ms., in ink; parts are blue print. [See note below] _____. Adagio and fugue, for string orchestra, K. 546[in C minor] New York, Broude Brothers, c1952. Pl. no.: B.B. 594. miniature score (6 p.) and 10 parts. (Parts have pl. no.: B.B. 593.) Markings in black red pencil throughout. [The two above works were used for Doris Humphrey's ballet, Fantasy and fugue in C major and Fugue in C minor,first performed August 23, 1952 at the American Dance Festival, New London, Connecticut by the José Limón Dance Company] Nordoff, Paul. Canonade(Canons) 11 p. For piano. Ms., in ink. At end: New York, 1944. [Used for Doris Humphrey's dance, Canonade,first performed March 5, 1944, at the Humphrey-Weidman Studio, New York by the Humphrey-Weidman Group] Nowak, Lionel. Dance suite[Danzas mexicanas] July 13-30, 1939. [24] p. For piano. Ms., in ink. _____. Danzas mexicanas.[23] p. For piano. Ms., in ink. [Same music as above. Used for José Limón's ballet, Danzas mexicanas,first performed at Mills College, August 4, 1939, by the Bennington Group. Five sections: Indio; Conquistador; Peon; Caballero; Revolucionario] Nowak, Lionel. Penitente.1938. 3 p. Piano solo. Ms., in ink. Signed at end: June 14, 1938, Lionel Nowak. _____. Prelude.1938. 3 p. Piano solo. Ms., in ink. Signed at end: June 16, 1938, Lionel Nowak. _____. Lyric.1938. 4 p. Piano solo. Ms., in ink. Signed at end: July 1, 1938, Lionel Nowak. _____. Square dances.Revised and edited by Doris Humphrey. 21 p. For piano. Ms., in ink. Signed at end: November 18/39 Lionel Nowak. [Used for Doris Humphrey's dance, Square dances,first performed November 25, 1939, at Washington Irving High School, New York by the Humphrey-Weidman Group] _____. The story of mankind.score (85 p.) and 18 parts. Ms. and photocopy. 3 copies of score (2 are blueprint copies, one is blueprint master) [Used for Doris Humphrey's dance, The story of mankind,first performed July 11, 1946 at the Bennington Festival, Bennington College, Vermont] _____. Arch study.Humphrey technique. 2 p. (3 copies) For piano. Photocopy of ms. _____. Rhythm of eleven.Charles Weidman technique. 1 leaf. For piano. Photocopy of ms. _____. Minuet phrase(after Handel - way after) 2 p. For piano. Photocopy of ms. Probably by Nowak, although unsigned. Pittaluga, Gustavo. El maestro de danzar.Ballet-divertimento en un acte. À Argentinita. 10 p. For piano. Photocopy of ms. Accompanied by \"Argumento,\" in Spanish (1 leaf, typescript) Purcell, Henry. The Moor's pavane.score (37 p.) and 6 parts. 2 copies of score: Copy 1 is blueprint of ms. inserted pages and edited printed score, with markings throughout in black red pencil. Copy 2 is negative photostat. Parts are negative photostats. [Arranged by Simon Sadoff from Purcell's Abdelazar, The Gordian knot untied, and Pavane and chaconne for strings. Used for José Limón's ballet, The Moor's pavane,first performed on August 17, 1949 at the American Dance Festival, New London, Connecticut, by the José Limón Dance Company] Read, Gardner. Sarabande, op. 33, no. 3a.St. Louis, London, Art Publication Society, c1942. [5] p. incl. biographical sketch. Pl. no.: No. 848. Piano solo. Inscribed in ink on cover to José Limón by the composer. Accompanied by [UNK] letter from the composer to José Limón and more biographical material. _____. Three satirical sarcasms.Op. 29. 7 p. For piano. Photocopy of [UNK] (Contents: Ironical march; Is it a waltz?; Eccentric dance) _____. Dance of the locomotives.Op. 57. 1942. 6 p. For piano. [UNK] At end: July 25-Aug. 10, 1942, Evanston, Ill. Riegger, Wallingford. Processional[from] New dance. #4.14 p. For piano. Ms., in pencil and ink. [Used as part 5 of Doris Humphrey's dance, New dance, first performed August 3, [UNK] at Bennington College, Bennington, Vermont] _____. Rhythm study, from New dance.[For] Doris Humphrey. [3] p. For piano. Photocopy of ms. Also includes: Opposition jump and Advanced stretch. _____. Rhythmic study - Doris Humphrey.1 p. For piano. [UNK] Probably by Riegger, although unsigned. Schönberg, Arnold. Second chamber symphony[op. 38] (Two piano arrangement) c1942, 2-piano score (41 p.) 4 copies. Photocopy of ms. copy (from G. Schirmer, N.Y.) Copies 3 and 4 have pencil markings. [Used for José Limón's ballet, Exiles,first performed August 11, 1950 at the [UNK] Dance Festival, New London, Connecticut by José Limón and Group] Schuller, Gunther. Traitor.[Symphony for brasses; arr.] 2-piano score (17 p.) [UNK] Blueprint of ms. with pencil markings. [Used for José Limón's ballet, The traitor,first performed August 19, 1954 at [UNK] American Dance Festival, New London, Connecticut, by José Limón and Company] Siegmeister, Elie, arr. True love.4 leaves. For voice piano. English words. Negative photostat of ms. copy. [José Limón Papers. (s)M6ZMD 24] Suriñach, Carlos. Ritmo jondo.For chamber orchestra. score (83 p.) and 2 parts. Photocopy of ms. The parts are for 3 handclappers. At end: New York, Feb. 1953. [Used for Doris Humphrey's dance, Ritmo jondo,first performed April 15, 1953 at the Alvin Theatre, New York by José Limón and Company.] _____. Danza grande.2-piano score (24 p.) and 2d piano part (11 p.) Ms., in pencil. The 2-piano score is marked \"1st piano.\" _____. Danza chica[and] Bulerias.New York, A.M.P., c1952. 10 p. Reproduction of ms. copy. For piano solo (possibly Piano 2 part?) _____. [Danza chica?]2-piano score (10 p.) Ms., in pencil, with markings in ink for the instrumentation. Seems to be a version of the work listed above. Accompanied by two ms. sheets, in ink, for an unidentified composition or possibly one of the above two works. Williamson, Esther, arr. Pop goes the weasel.[7] p. For piano. Ms., in pencil. [Used for Caper,part 3 of José Limón's dance, Western folk suite,first performed March 11, 1943 at the Humphrey-Weidman Studio Theatre, New York] _____. III. Rumba.p. 9-10. For piano. Photocopy of ms. José Limón technique: Music.[5], [6] p. For piano. Ms., in pencil. Composer unknown. Study in modern dance technique.José Limón technique for August 13, 1945. 4p. of ms. notes, in pencil, and 2 p. (typescript). Directions for the above (?) Miscellaneous, unidentified compositions, mostly mss. in pencil. 7 pieces. For piano. Item 1 is Victorian(18 p.) Item 2 is Medieval(6 p.) Others are untitled. Loose parts: Camargo Guarnieri, M. Dansa negra #3,para orquestra. c1947. 1 part for viola. Photocopy of ms. part, with pencil markings. Moncayo, J. Pablo. Huapango.1 part for viola. Ms.? in ink? (appears to be from Peer International, N.Y.) Marked: Viole - 2. Dello Joio, Norman. Meditations on Ecclesiastes,for string orchestra. 1 double bass part (8 p.) Ms., in ink (stamped at bottom of p. 1: Carl Fischer, N.Y.) Beethoven, Ludwig van. String quartet, no. 11, F minor, op. 95.[7] leaves of ms., in pencil in green notebook. Transcribed for piano solo. Allegro ma non troppo (incomplete) Marked at top: March 21, 1969, The birthday of J. S. Bach. [José Limón Papers] *MGYB + (Limón) 80-1853 (Basement) JOSÉ LIMÓN COLLECTION - MUSIC (PRINTED) Music with choreographic notes, and/or markings in pen or pencil. Bach, Johann Sebastian. Organ concertos and organ sonatas. Ed. by Charles-Marie Widor and Albert Schweitzer. New York, G. Schirmer, c1941. Pl. no. 22706. 147 p. (Complete organ works, v. 5) Passacaglia, extraite des oeuvres d'orgue. Transcription par I. Philipp. Pour 2 pianos 4 mains. Paris, Durand [n.d.] Pl. no.: D. F. 5762. 24 p. Passacaglia. Übertragen von E. d'Albert. [Arr. for piano] Berlin, Ed. Bote G. Bock; New York, Associated Music Publishers [n.d.] Pl. no.: B. B. 13416. 21 p. The well-tempered clavichord; forty-eight preludes and fugues for the piano. Edited by Carl Czerny. Book I. (Incomplete: pages after p. 118 lacking) New York, Schirmer, c1893. Pl. no.: 11015. Barber, Samuel. Capricorn concerto, for flute, oboe, trumpet, and strings. New York, G. Schirmer, c1945. score (35 p.) Pl. no.: 41143. Chopin, Frédéric. Mazurkas. Edited by Carl Mikuli. New York, G. Schirmer, c1934. Pl. no.: 36376. 151 p. For piano. Ms. notes, in pencil, indicating casting, etc. Classiques espagnols du piano. Paris, Editions Max Eschig, 1925. Edited by Joaquín Nin. Book I: Seize sonates anciennes d'auteurs espagnols. Book II: Dix-sept sonates et pieces anciennes d'auteurs espagnols. Pl. no.: M.E.1305, 2330. (Includes works by Padre Antonio Soler, and others. Limón used the sonatas by Soler in Book I for Tonantzintla, cf. p. 50, 20, 32, and 6.) Copland, Aaron. Piano sonata. New York, Boosey Hawkes, c1942. Pl. no.: B. Pa. solo 27. 29 p. El salón México. Piano.solo. New York, Boosey Hawkes, c1941. Pl. no.: Pa. 24. 15 p. Arrangement for piano solo by Leonard Bernstein. Accompanied by 4 pages of ms. choreographic notes, in pencil. Falla, Manuel de. Spanish dance no. 1 from the opera La vida breve. Arranged by S. Chapelier. Piano-conductor score (10 p.) New York, Associated Music Publishers, c1941. Pl. no.: M.E. 2031. Choreographic notes, in pencil. Guion, David W. Turkey in the straw; concert transcription for piano. New York, G. Schirmer, c1919. Pl. no.: 29240. 7 p. Ives, Charles E. Seven songs, for voice and piano. New York, Cos Cob Press [1921?] English words. (2d song is Charlie Rutlage, used by Limón for part of Three ballads and also for part of Western folk suite) Mompou, Frédéric. Cançó i dansa, I. Piano seul. Paris, Union Musicale Franco-Espagnole, c1919. Pl. no.: UMFE 1012. 4 p. 2 copies. (Copy 2 is lacking title page imprint and has pl. no.: F.M.15) Porter, Cole. Begin the beguine. Words and music by Cole Porter. New York, Harms, c1935. Pl. no.: S.676. 7 p. For voice piano. Accompanied by 12 p. of ms. notes, in pencil and typescript copy of same (3 pages, incomplete) Poulenc, Francis. Aubade; concerto chorégraphique pour piano et 18 instruments. Réduction pour piano seul par l'auteur. Paris, Rouart Lerolle Cie., c1930. Pl. no.: R. L. 11728 Cie. 29 p. Schoenberg, Arnold. Six little piano pieces, op. 19. New York, Associated Music Publishers, c1940. Pl. no.: U.E. 5069. 9 p. Three piano pieces, op. 11. New York, Associated Music Publishers, c1938. Pl. no.: U.E. 2901. 14 p. (Pages taped together from both sets, out of sequence, with choreographic notes) Tcherepnine, Alexandre. Petite suite. Paris, Durand, c1923. Pl. no.: D. F. 10,277. 16 p. For piano. Accompanied by 1 page of dance instructions. Also with choreographic notes. Villa-Lobos, Heitor. Rudepoema. Pour piano solo. Paris, M. Eschig, c1928. Pl. no.: M.E. 2169. 41 p. Music without choreographic annotations. Avshalomov, Jacob. Tom o'Bedlam. For mixed chorus, solo oboe, tabor jingles. New York, New Music, c1953. 28 p. English words. (Stamped on cover: The Collegiate Chorale) Bach, Johann Sebastian. Air in D. Arr. by Roland Diggle. Chicago, C. F. Summy, c1939. Pl. no.: C.F.S. Co. 3339. 3 p. Piano transcription. Arioso. (From Piano concerto, F minor) Transcribed for piano solo by Max Pirani. New York, G. Schirmer, c1917. Pl. no.: 27287. 5 p. Cantata no. 154 (Mein liebster Jesus ist verloren) BWV. 154. Leipzig, Breitkopf Härtel [n.d.] German and French words. Piano acc. Capriccio upon the departure of a beloved brother, in B flat major. New York, Joseph Patelson Music House, 1945. 7 p. For piano. Chaconne in D minor, from the Sonata for violin solo no. 4. Transcribed for the piano by Ferruccio Busoni. New York, G. Schirmer [n.d.] Pl. no.: 39413. On cover, in ink: José Limón, S. F. 1941. 371 four-part chorales. New York, Associated Music Publishers, sole reprint of the Breitkopf Härtel edition [n.d.] 178 p. Pl. no.: E.B. 10. For piano. 371 harmonized chorales and 69 chorale melodies with figured bass. Edited by Albert Riemenschneider. New York, Schirmer, c1941. xvi, 165 p. Twenty-four choral preludes. Compiled and arr. by Felix Guenther. Piano solo. New York, E. B. Marks, c1942. Pl. no.: 11800. 80 p. (Classic master series, no. 5) Concerto in D minor, for the piano. Edited by Edwin Hughes. New York, Schirmer, c1928. Pl. no.: 34028. 2-piano score (67 p.) Eighteen little preludes and fugues. Edited by G. Buonamici. New York, Schirmer, c1897. Pl. no.: 13212. 83 p. On cover: José A. Limón, NY 1946. English suites, for the pianoforte. Book one. Edited by Karl Klindworth. Philadelphia, T. Presser [n.d.] Pl. no.: 11349. 67 p. Fantasie in C minor. Edited by Von Bülow. Philadelphia, T. Presser [n.d.] Pl. no.: 1753 5 p. For piano. Fantasia in C minor. Edited by Von Bülow. New York, G. Schirmer [n.d.] Pl. no.: 13421. 5 p. For piano. The Goldberg variations. Edited for the harpsichord or piano by Ralph Kirkpatrick. New York, Schirmer, c1938. Pl. no.: 37149. xxviii, 83 p. Bach, Johann Sebastian. Komm', süsser Tod. Transcribed for violin with piano acc. by Lionel Tertis. New York, Schirmer, c1925. Pl. no.: 32415. 3 p. On cover: José Limón, 1936. Mass in B minor. Leipzig, Breitkopf Härtel [n.d.] Pl. no.: J.S. B. IV. 1. Incomplete: p. 15-215 only, title page p. 1-14 lacking. Latin words. Organ fugue in G minor (The little) Adapted for piano and edited by Olga Samaroff. Philadelphia, Elkan-Vogel, c1931. 7 p. Organ prelude (G minor) arranged by A. Siloti after Th. Szántó's transcription. [For piano] New York, Carl Fischer, c1924. Pl. no.: 23083. 9 p. Partitas for the piano. Book II. Edited by Czerny, Griepenkerl and Roitzsch. New York, G. Schirmer [n.d.] Pl. no.: 20492. 65 p. Partita in B flat. Transcribed for pianoforte by Harold Bauer. New York, G. Schirmer, c1921. Pl. no.: 29635. 19 p. On cover: José A. Limón. N.Y. 1930. Passacaglia in C moll. Hrsg. von Fritz Malata. Leipzig, Breitkopf Härtel, c1917. Pl. no.: 28003. 20 p. Transcribed for piano. (Edition Breitkopf Nr. 4942) Passion (St. John) The English translation and adaptation by J. Troutbeck. New York, H. W. Gray, agents for Novello [n.d.] vi, 145 p. Schafe können sicher weiden (Sheep may safely graze) Transcribed for piano solo by Mary Howe. London, Oxford University Press, 1937. Pl. no.: N570. 7 p. Sonatas and partitas for the violin. Edited by Eduard Herrmann. New York, G. Schirmer, 1929. Pl. no.: 15211. 61 p. Toccata in C dur (preludio, adagio e fuga) Auf das Pianoforte übertragen von Ferruccio Busoni. Leipzig, Breitkopf Härtel, c1928. Pl. no.: V.A. 1371. 24 p. Seven toccatas. Edited by Hans Bischoff. New York, Kalmus, c1948. 71 p. For piano. Vier Duette (Klavierübung, III. Teil) Urtext. Hrsg. von Kurt Soldan. Fingersatz von Hans Beltz. New York, C. F. Peters, c1937. Pl. no.: 11357. 15 p. (Edition Peters Nr. 4465) The well-tempered clavier. Book II. Edited by Hans Bischoff. Translated by Paul Aron. New York, G. Schirmer, c1952. Pl. no.: 42850. 133 p. For piano. Bach, Wilhelm Friedemann. Organ concerto in D minor, for piano solo (after Vivaldi's Concerto op. 3, no. 11) Transcribed by August Stradal. New York, International Music Co., 1947. Pl. no.: 940. 27 p. Orgel-Konzert. Für Pianoforte bearb. von August Stradal. Leipzig, Breitkopf Härtel, c1897. Pl. no.: V.A. 2241. 25 p. (negative photostat) In manila folder with poem on cover, in ink. Bal y Gay, Jesús. Romances y villancicos españoles del siglo XVI. Para canto y piano. Primera serie. [Mexico] La Casa de España en Mexico, 1939. 47 p. Balough, Gregor. Ballet tango. For violin and piano. Louisville, Ky., McDonald Moffet, c1954. score (8 p.) and part. A morning kiss; czardas. For violin piano. Louisville, Ky., c1954. score (8 p.) and part. Premiere danseuse. For violin and piano. Louisville, Ky., c1954. score (8 p.) and part. Bartók, Béla. Sonata for two pianos and percussion. London, Hawkes; New York, Boosey Hawkes, c1942. Pl. no.: B. H. 8675, B. H. 8816. 2 scores (96 p.) and 2 percussion parts. Beethoven, Ludwig van. Sonaten. Klavier zu 2 Händen. Hrsg. von Louis Köhler und Adolf Ruthardt. Neu rev. Ausg. New York, C. F. Peters [n.d.] Pl. no.: Edition Peters 9452, 9427. 2 v. (Edition Peters, no. 296a-296b) Symphony no. 3 (Eroica) Eb major, op. 55. New York, Associated Music Publishers [n.d.] Part for violoncello e basso. (Breitkopf Härtel Edition. Orch. B 7/8) Stamped on cover: Erie Philharmonic Society. Brahms, Johannes. Symphony number four in E minor, op. 98, for piano, two hands. Boston, O. Ditson, c1932. Pl. no.: 77059. viii, 48 p. (Analytic symphony series, no. 36) Waltzes, op. 39, arranged for the piano by the composer from the original for piano, four hands. Pedal indications and fingering by Arthur Whiting. New York, G. Schirmer, c1916. Pl. no.: 26325. 27 p. Chopin, Frédéric. Ballades. [Edited by] Rafael Joseffy. New York, G. Schirmer, c1916. Pl. no.: 25646. 59 p. For piano. Concerto in F minor, op. 21. New York, G. Schirmer, c1918. 2-piano score (87 p.) Pl. no.: 25651. Edited by Rafael Joseffy. Etudes. Edited by Carl Mikuli. New York, G. Schirmer, c1934. Pl. no.: 36379. 121 p. For piano. Impromptus. Newly edited, revised and fingered by Rafael Joseffy. New York, G. Schirmer, c1915. Pl. no.: 25405. 32 p. For piano. Mazurkas. Edited by Carl Mikuli. New York, G. Schirmer, c1934. Pl. no.: 36376. 151 p. For piano. Nocturne, in C sharp minor, op. posth. For piano solo. Edited by Leon Erdstein. New York, International Music Co., 1942. Pl. no.: 532. [UNK]. Nocturnes. Warsawa, Instytut [UNK] Chopina, Polskie Wyd. Muzyczne [1964] 7. ed. Editorial committee: I. J. Paderewski [et al.] Pl. no.: PWM 238. 132 p. (Chopin complete works, ed. Paderewski. v. 7) Nocturnes. Philadelphia, O. Ditson [19--] 94 p. (incomplete) Cover lacking. Chopin, Frédéric. Polonaisen. Kritisch rev. und mit Fingersatz versehen von Herrmann Scholtz. New York, C. F. Peters [n.d.] Pl. no.: 9289. 100 p. (Edition Peters no. 1903) Polonaisen. Hrsg. von Ignaz Friedman. New York, Breitkopf Härtel, c1913. Pl. no.: V.A. 3813. 101 p. (Carl Fischer's Music library no. 1041) Preludes. Newly edited, rev. and fingered by Rafael Joseffy. New York, G. Schirmer, c1915. Pl. no.: 25454. 53 p. Preludes, op. 28 45. Piano solo. Rev. von Raoul Pugno. Wien, Universal-Edition [n.d.] Pl. no.: U.E. 348, 1582. 53 p. Scherzi and fantasy. Edited and fingered by Carl Mikuli. New York, G. Schirmer, c1934. Pl. no.: 36395. 92 p. Sonatas. Edited and fingered by Carl Mikuli. New York, G. Schirmer, c1895. Pl. no.: 11743. Waltzes for piano. Klindworth edition. New York, Amsco Music Pub. Co., c1946. 59 p. Creager, William. Memoire. New York, Creative Music, c1956. 3 p. For piano solo. De Koven, Reginald. \"In minor mode\". Preludes for the piano, op. 165. Cincinnati, J. Church, c1901. 33 p. Dello Joio, Norman. Songs of Walt Whitman, for mixed chorus and orchestra. III. Tears. New York, Marks Music Corp., c1966. Pl. no.: 14993. 14 p. SATB and piano. English words. L'éventail de Jeanne. Ballet en un acte. Paris, Au Ménéstrel, Heugel, c1928. Pl. no.: H. 29,811. 2-piano score (70 p.) In 11 sections by Maurice Ravel, Ferroud, Ibert, Roland-Manuel, Delannoy, Roussel, Milhaud, Poulenc, Auric and Schmitt. On cover, in pencil: Doris Humphrey. Fauré, Gabriel. Requiem, for soprano and baritone soli, chorus and orchestra. Vocal score. Latin and English text edited by Mack Evans. Chicago, H. T. Fitz Simons, c1944. Pl. no.: 44-70. piano-vocal score (72 p.) Foss, Lukas. A parable of death (Ein Märchen vom Tod) for narrator, chorus, tenor solo and orchestra. Vocal score. New York, C. Fischer, c1953. Pl. no.: N1933. piano-vocal score (67 p.) English and German words. Franck, César. Prélude, chorale and fugue, for the piano. Edited by Andor Pintér. New York, Schirmer, c1916. Pl. no.: 25584. 31 p. Prelude, aria and finale, for the piano. Rev. and edited by Harold Bauer. Boston, Boston Music Co., c1916. Pl. no.: B.M. Co.4858. Gershwin, George. Preludes for piano. New York, New World Music, c1927. Pl. no.: N.W. 50-11. 12 p. On cover: José Limón, Camp Upton, N.Y. May 1943. Gluck, Christoph Willibald. Ballet-Suite. Balletstücke aus Opern von Chr. W. Gluck für Orchester frei bearbeitet von Felix Mottl. Für Pianoforte zu 4 Händen von Bernhard Wolff. Leipzig, C. F. Peters [n.d.] Pl. no.: 8335. 23 p. (Edition Peters no. 2902) Accompanied by one sheet of choreographic notes, in ink. Iphigenia in Aulis. Oper in 3 Acten. Clavierauszug. Braunschweig, H. Litolff [n.d.] Pl. no.: Collection Litolff no. 71. piano-vocal score (214 p.) French German words. Goh, Taijiro. Seven preludes, for piano. Tokyo, Ryuginsha [1949] 30 p. Inscribed on cover, in ink, by the composer to José Limón, 10 Feb. 1954. Granados, Enrique. Danza triste, for piano. New York, Miller Music Corp. [n.d.] Pl. no.: 637. 7 p. Quejas ó La maja y el ruiseñor. From Goyescas. For the piano. New York, International Music Co., 1941. Pl. no.: 501. 7 p. Harris, Roy. Piano sonata. Edited by Harry Cumpson. New York, Cos Cob Press, c1931. Pl. no.: C.C.P.5. 18 p. (Reissued by Arrow Music Press) Hindemith, Paul. Sonata, piano duet, 1938. Mainz, B. Schott; New York, Associated Music Publishers, c1939. Pl. no.: B.S.S. 35830. 31 p. For piano, 4 hands. (Edition Schott 3716) Sonata, for trumpet and piano (1939) New York, Associated Music Publishers, c1940. Pl. no.: B.S.S.36104. score (24 p.) and part. Kodály, Zoltán. Kállo folk dances (Volkstänze aus Kállo) Vocal score. London, New York, Hawkes Son (sole selling agents: Boosey Hawkes), c1954. Pl. no.: B. H. 17535. 39 p. German and English words. Liszt, Franz. Consolations and Liebesträume, for the piano. Edited by Rafael Joseffy. New York, G. Schirmer, c1915. Pl. no.: 12415. 39 p. Miller, Freda D. Accompaniment for dance technique. 15 short studies. New York, Independent Music Publishers [n.d.] 6 p. For piano. Monteverdi, Claudio. Now let me die (Lasciatemi morire) Women's voices. Arr. by W. A. Goldsworthy. New York, G. Ricordi, c1936. Pl. no.: N.Y. 1048. 3 p. SSA and piano. English words. Mozart, Wolfgang Amadeus. Sonata no. 9 in F major. Rev. by Hans Semper. Boston, B. F. Wood Music Co. [n.d.] Pl. no.: B.F.W.4744. 15 p. For piano. Niles, John J. Seven Kentucky mountain songs, as sung by Marion Kerby and John J. Niles. Collected and arranged by John J. Niles. New York, G. Schirmer, c1929. Pl. no.: 34690. 13 p. For voice piano. Padilla, José. El relicario (Shrine of love) Arr. by Chas. E. Wilkinson. New York, E. Marks, c1934. Pl. no.: 10,194. 5 p. For voice piano. English Spanish words. Persichetti, Vincent. The creation. Philadelphia, Elkan-Vogel Co., c1970. piano-vocal score (160 p.) SATB, chorus, and piano. English words. Inscribed in ink on cover by the composer to José Limón. Porter, Cole. Just one of those things, from the musical comedy \"Jubilee.\" Words and music by Cole Porter. New York, Harms, c1935. Pl. no.: S.682. 7 p. For voice piano. Prokofieff, Serge. Danza. Op. 32, no. 1. Edited by F. H. Schneider. Leipzig, Breitkopf Härtel, c1922. Pl. no.: A.10304 R. 7 p. For piano solo. Purcell, Henry. Odes and elegies: The Queen's epicedium; Elegy on the death of Queen Mary, 1695. The figured basses realised by Benjamin Britten. The vocal parts edited by Peter Pears. New York, Boosey Hawkes, c1946. Pl. no.: H. 15762. 12 p. For voice and piano. Latin words. Suites, lessons and pieces for the harpsichord. Edited by William Barclay Squire. Vol. IV. London, J. W. Chester, c1918. Pl. no.: J.W.C. 2020. 26 p. On cover: D. H. Rachmaninoff, Sergei. Prelude in G min., op. 23, no. 5. Edited by Louis Oesterle. New York, G. Schirmer, c1908. Pl. no.: 20157. 7 p. For piano. Rainier, Priaulx. Barbaric dance suite for piano. London, Schott, c1950. Pl. no.: S. C. Ltd. 5525. 11 p. Rameau, J. P. Gavotte und Variationen. Hrsg. von Theodor Leschetizky. Leipzig, D. Rahter [n.d.] Pl. no.: 2245 3259. 13 p. For piano solo. Raphling, Sam. Warble for lilac-time, for flute and strings. Transcription by the composer for flute and piano. New York, Edition Musicus, c1956. Pl. no.: SR-10. score (12 p.) and part. Satie, Erik. Trois gnossiennes. No. 3. Pour piano. Paris, Rouart, Lerolle, c1913. Pl. no.: R. L. 9886 Cie. 3 p. Gnossienne no. 1. Boston, C. W. Homeyer, c1917. Pl. no.: C.W.H. 205-2. 3 p. For [UNK] Edited by George Copeland. Scarlatti, Domenico. 35 sonatas for piano. After the edition of Alessandro Longo. Vol. I-II. New York, C. Fischer, c1947. Pl. no.: 03488-03489. 2 v. Schubert, Franz. Seven waltzes. Selected and edited by Guy Maier. New York, J. Fischer Bro., c1923. Pl. no.: J.F. B. 5271. 12 p. For piano. Original Kompositionen für Klavier zu 4 Händen. Leipzig, C. F. Peters [n.d.] Pl. no.: 10033. 132 p. Scriabine, Alexandre. Mazurkas, op. 3. Liv. 2. Moscou, P. Jurgenson [n.d.] Pl. no.: 18910-18914. 23 p. For piano. (Mazurkas no. 6-10) Suriñach, Carlos. Ritmo jondo (Flamenco) Ballet for chamber orchestra. New York, Associated Music Publishers, c1959. Pl. no.: AMP 95832. miniature score (114 p.) Tchaikovsky, Peter Ilich. Symphony no. 4 in F minor. For piano, two hands. Edited by Percy Goetschius. Philadelphia, O. Ditson, c1929. viii, 61 p. Pl. no.: 76377. (Analytic symphony series, 16) Villa-Lobos, Heitor. Dois preludios, para violao. Rio, Fuchs, 1941. Part for violin only (6 p.) (Preludes no. 3 and 4 only) Wagner, Richard. Album for reed-organ or harmonium. A collection of twenty-three pieces from the master's works. Edited by F. Flaxington Harker. New York, G. Schirmer, c1937. Pl. no.: 21354. 90 p.</p>"}

processinfo

{"value"=>"<p>Processed by Nancy M. Shawcross.</p>"}

accessrestrict

{"value"=>"<p>Inquiries regarding audio and moving image materials in the collection may be directed to the Jerome Robbins Dance Division (dance@nypl.org). Audio and moving image materials will be subject to preservation assessment and migration prior to access.</p>"}

revisiondesc

{"value"=>"Audiovisual materials added and container list updated by Allison Hughes", "date"=>"2026"}

date_start

1927

keydate

1927

date_end

1972

date_inclusive_start

1927

date_inclusive_end

1972

extent_statement

17.58 linear feet (43 boxes). 48 moving_image_recordings

prefercite

{"value"=>"José Limón papers, *MGZMD 24. Jerome Robbins Dance Division, The New York Public Library for the Performing Arts"}

Update Collection TOP

Update from EAD XML File

Child components TOP

1. Series I: Correspondence [21/3]
2. Series II: Writings of José Limón [2/2]
3. Series III: Choreographic and Production Notes [2/2]
4. Series IV: Dance Chronologies [3/1]
5. Series V: Professional Material [6/2]
6. Series VI: Legal Documents and Memorabilia [13/2]
7. Series VII: Miscellaneous Writings [19/2]
8. Series VIII: Miscellaneous [6/2]
9. Series IX: Financial Records [18/1]
10. Series X: Moving Image Recordings [3/3]