- physdesc
-
{"format"=>"simple", "value"=>"4.5 linear ft. (18 boxes)"}
- unitid
-
{"value"=>"JPB 83-60", "type"=>"local_call"}
{"value"=>"20166", "type"=>"local_mss"}
- unitdate
-
{"value"=>"c1910-1953", "type"=>"inclusive", "normal"=>"1910/1953"}
- date_inclusive_start
-
1910
- date_inclusive_end
-
1953
- keydate
-
1910
- unittitle
-
{"value"=>"Louis Horst collection of music"}
- repository
-
{"value"=>"<span class=\"subarea\">Music Division.</span>, The New York Public Library for the Performing Arts"}
- abstract
-
{"value"=>"The Louis Horst Collection is a collection of manuscript and printed music used by Louis Horst, composer and dance accompanist. Located in the Music Division, it is the musical portion of the Louis Horst Papers in the Dance Collection."}
- prefercite
-
{"value"=>"Louis Horst collection of music, JPB 83-60. Music Division, The New York Public Library for the Performing Arts"}
- origination
-
{"value"=>"Horst, Louis"}
- bioghist
-
{"value"=>"<p> Louis Horst, American pianist, composer, musical director, author, and editor, was born in Kansas City, Missouri, on January 12, 1884. His parents, who had immigrated from Germany in 1882, were Conrad Horst, a trumpet player, and Carolina Nickell.</p> <p>In 1892, the family moved to San Francisco where Horst attended the Adams Cosmopolitan School. He studied violin with John Josephs and John Marquand and piano with Samuel Fleischman.</p> <p>Beginning in 1902, Horst played piano in dance halls and gambling houses, and was a pit musician at the Columbia Theater. He also played in a concert trio and accompanied violinists and singers.</p> <p>In 1915, the Denishawn dance company visited San Francisco, and Horst was asked to be accompanist. Within months he became the company's music director, bringing him into contact with Martha Graham, Doris Humphrey, and Charles Weidman. In 1925, Horst resigned from Denishawn and went to Vienna to study with Richard Stöhr in order to increase his compositional skills. He found the experience too rigidly classical and returned to New York where he continued his studies with Max Persin and Wallingford Riegger.</p> <p>In 1926, Horst was hired by Martha Graham. In time, he functioned as her accompanist, music director, composer, and mentor. Among the works he composed for Graham were <span class=\"title\">Primitive Mysteries</span> (1931), <span class=\"title\">Frontier</span> (1935), and <span class=\"title\">El penitente</span> (1940). During his tenure with Graham, Horst also served as accompanist and musical director for Helen Tamiris (1927-30), Doris Humphrey and Charles Weidman (1927-1932), as well as Agnes de Mille, Ruth Page, Hans Wiener, Michio Ito, Adolph Bolm, Harald Kreutzberg, and others. Horst left the Graham company in 1948.</p> <p>Throughout his career Horst taught at various institutions, including Sarah Lawrence College (1932-40), Bennington College (1934-45), Teachers College, Columbia University (1938-41), Mills College (1939), Barnard College (1943, 1950-51), Connecticut College (1948-64), and The Juilliard School of Music (1951-64). He also lectured at the New School for Social Research (1931), and at the 92nd Street YM/YWHA (1939-42).</p> <p>In addition to his activities related to dance, Horst composed scores to five films (titles surmised from the scores): <span class=\"title\">Chile</span> (1943), <span class=\"title\">Atacama Desert (North Chile)</span> (1945), <span class=\"title\">Pacific Island</span> (1949), <span class=\"title\">Rural Women</span> (1950), and <span class=\"title\">Flower Arrangements of Colonial Williamsburg</span> (1953). He also founded the journal <span class=\"title\">Dance Observer</span> in 1934.</p> <p>Horst defined the forms and structural principles of modern dance. While he recommended than choreography be shaped according to the pre-existent musical architecture, he also composed in such a manner as to have the music follow the needs of the dance, giving the choreography primacy. Robert Sabin wrote that Horst's main principles were \"economy of instrumentation, functional relationship to the dance, harmonic appropriateness to the emotional scheme of the work, [and] rhythmic integration.\"</p> <p>Louis Horst died in New York City on January 12, 1964.</p>"}
- scopecontent
-
{"value"=>"<p> The Louis Horst Collection contains Horst's compositions and arrangements as well as those works he used in accompanying and working with dancers and choreographers. His collaborations with Martha Graham are well represented, including <span class=\"title\">American Provincials</span>, <span class=\"title\">Celebration</span>, <span class=\"title\">Lamentation</span>, <span class=\"title\">Horizons</span>, <span class=\"title\">El Penitente</span>, <span class=\"title\">Primitive Mysteries</span> and other works. His associations with other choreographers include those from the outset of his career with the Denishawn company (including <span class=\"title\">Group dance</span>, and <span class=\"title\">Tillers of the Soil</span>). Some works were those probably used in teaching, such as his <span class=\"title\">Exercises for dance movements</span>.</p> <p>The collection of published music allows the researcher to see the repertoire of music that Horst preferred. Some works contain musical annotations, and, in a few instances, choreographic notes. (Not all annotations are indicated on the finding aid.)</p> <p>A number of works by Conrad Horst (Louis's father) are included in the collection.</p>"}
{"value"=>"<p class='list-head'>The Louis Horst collection of music is arranged in two series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/mus/20166#c540428'>Series 1: Manuscript Music</a></div>\n</li><li><div class='series-title'><a href='/mus/20166#c540603'>Series 2: Published Music</a></div>\n</li></ul>\n", "type"=>"arrangement"}
- arrangement
-
{"value"=>"<p>The Louis Horst Collection is arranged in two series:</p> <p>Series 1 contains manuscripts.</p> <p>Series 2 contains printed music.</p> <p>Within each series the arrangement is alphabetical by composer. Works by the same composer are arranged alphabetically by title.</p> <p>Cardinal numbers which begin titles are disregarded (e.g. \"Two Dances\" are filed under Dances instead of under Two).</p>", "supress_display"=>true}
- acqinfo
-
{"value"=>"<p>The entire Louis Horst Collection was donated by the Horst Estate to the Dance Collection in 1964. Musical scores were transferred to the Music Division to form the present collection.</p>"}
- separatedmaterial
-
{"value"=>"<p>The Horst music collection has been separated from the Louis Horst Collection housed in the the Dance Collection, The New York Public Library for the Performing Arts.</p> <span class=\"archref\"> The Louis Horst Collection, 1928-1964, Classmark: *MGZMC-Res. 22</span>"}
- userestrict
-
{"value"=>"<p>For permission to copy or publish, please contact the Music Division.</p>"}
- bibliography
-
{"altrender"=>"unnumbered", "value"=>"<span class=\"bibref\">Caldwell, Helen. <span class=\"emph\">Michio Ito, the Dancer and his Dances.</span> Berkeley: U. of California Press, c1977.</span> <span class=\"bibref\">Dreier, Katherine S. <span class=\"emph\">Shawn: The Dancer.</span> New York: A.S. Barnes, 1933.</span> <span class=\"bibref\">Goldman, R.F. “The music of Wallingford Riegger” <span class=\"emph\">Musical Quarterly</span> 36 (1950)</span> <span class=\"bibref\">Horst, Louis. “Music Mart” column, <span class=\"emph\">Dance Magazine</span> 1929.</span> <span class=\"bibref\">Horst, Louis. <span class=\"emph\">Pre-Classic Dance Forms.</span> New York: Dance Observer, c1937.</span> <span class=\"bibref\">Horst, Louis and Russell, Caroll. <span class=\"emph\">Modern Dance Forms in Relation to the Other Modern Arts.</span> Brooklyn, NY: Dance Horizons, 1967.</span> <span class=\"bibref\">Kerner, Leighton and Wenink, Andrew, assisted by Don McDonagh. “Choreochronicle” in McDonagh, Don. <span class=\"emph\">Martha Graham,</span> New York: Popular Library, c1975.</span> <span class=\"bibref\">McDonagh, Don. <span class=\"emph\">Complete Guide to Modern Dance.</span> New York: Popular Library, 1977.</span> <span class=\"bibref\">New York Public Library. <span class=\"emph\">Dictionary-Catalog of the Dance Collection.</span> Boston: G.K. Hall, 1974 (Supplements 1975-)</span> <span class=\"bibref\">Schlundt, Christena L. <span class=\"emph\">The Professional Appearances of Ruth St. Denis and Ted Shawn: A Chronology and Index of</span> Dances, 1906-1932. New York: New York Public Library, 1967.</span> <span class=\"bibref\">Shelton, Suzanne. <span class=\"emph\">Divine Dancer: A Biography of Ruth St.</span> Denis. Garden City, NY: Doubleday, 1981.</span> <span class=\"bibref\">Sherman, Jane. <span class=\"emph\">Denishawn: the Enduring Influence.</span> Boston: Twayne, 1983.</span> <span class=\"bibref\">Sherman, Jane. <span class=\"emph\">The Drama of Denishawn Dance.</span> Middletown, Conn.: Weleyan U. Press, 1979.</span> <span class=\"bibref\">Terry, Walter. <span class=\"emph\">Miss Ruth.</span> New York: Dodd, Mead, 1969.</span>"}
{"altrender"=>"unnumbered", "value"=>"<span class=\"bibref\">Horst, Louis [comp.] <span class=\"emph\">Scrapbooks.</span></span> <span class=\"bibref\">Clipping file on Louis Horst.</span>"}
- note
-
{"value"=>"<p>Manuscripts in ink and pencil and reproductions of manuscripts</p>", "encodinganalog"=>"500"}
{"value"=>"<p>Dance music by Conrad Horst, Louis Horst, and other composers for choreography by Martha Graham, Ruth St. Denis, and others</p>", "encodinganalog"=>"500"}
{"value"=>"<p>Chiefly for piano; includes some scores and parts for various vocal and instrumental combinations</p>", "encodinganalog"=>"500"}
{"value"=>"<p>Contents list and index of choreographers inserted in box 1</p>", "encodinganalog"=>"500"}
- langmaterial
-
{"value"=>"Multiple languages"}
- processinfo
-
{"value"=>"<p>Music Division Staff; machine readable finding aid created by Apex Data Services and revised by Chatham Ewing, and Robert Kosovsky.</p>"}
- date_start
-
1910
- date_end
-
1953