- unitid
-
{"value"=>"*ZB-2677 (series 1-9 only)", "type"=>"local_call"}
{"value"=>"20155", "type"=>"local_mss"}
- unitdate
-
{"value"=>"ca. 1887-ca. 1966", "type"=>"inclusive", "normal"=>"1887/1966", "certainty"=>"approximate"}
- unittitle
-
{"value"=>"The Bruno Walter papers"}
- physdesc
-
{"format"=>"simple", "value"=>"7.5 linear feet (32 boxes + additional material)"}
- 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>"}
- physloc
-
{"value"=>"JPB 92-4"}
- abstract
-
{"value"=>"The Bruno Walter Papers represent the career of the conductor Bruno Walter. The collection contains correspondence (primarily from after his emigration to the United States in 1941) as well as photographs, some books and music, and memorabilia."}
- prefercite
-
{"value"=>"<p>The Bruno Walter Papers, JPB 92-4, Music Division, The New York Public Library, Astor, Lenox, and Tilden Foundations.</p>"}
- origination
-
{"value"=>"Walter, Bruno, 1876-1962", "type"=>"persname"}
- bioghist
-
{"value"=>"<p>As the life of Bruno Walter is well documented in standard reference sources, a brief overview of his life should suffice.</p> <p>Bruno Schlesinger was born in Berlin on Sept. 15, 1876. His early musical instruction was in the form of piano lessons. As a student at the Stern Conservatory he began to receive notice as early as 1887. By the 1890s his interest gravitated toward conducting and he made his conducting debut in 1894. He first met Gustav Mahler in Hamburg, 1895. In 1901 Walter was appointed to the Court Opera in Vienna where Mahler was the Music Director. The two developed a close relationship that lasted until the composer's death in 1911. By the turn of the century Walter dropped Schlesinger as a last name. In 1900 he conducted the world premiere of Hans Pfitzner's Der arme Heinrich, and remained a close friend of the composer and of his wife (Walter's last letter, written the day before he died, was addressed to the composer's widow, Mali Pfitzner). Sometime in this first decade Walter married Elsa Korneck. Though she lived until the early 1940s, she remains a shadowy figure, and the papers hold scant evidence of her existence (though Mahler did address two cards to her).</p> <p>Walter's appointment to Vienna ended in 1913 when he became the Music Director of the Munich Opera. His departure from Munich in 1922 was cause for an outpouring of public expression. Following this tenure, Walter made guest appearances several orchestras. From 1925-1929 he was Music Director of the Berlin Städtische Opera -- a position that was not without a certain amount of friction between him and the Generalintendant Heinz Tietjen. In 1929 Walter succeeded Furtwängler as Music Director of the Leipzig Gewandhaus.</p> <p>With the rise to power of the Nazi party in 1933, Bruno Walter was removed from his post at Leipzig and made Austria the center of his activities for the next few years. The Anschluss of 1938 forced Walter to emigrate to France where he became a citizen in 1940. The subsequent occupation of France led Walter to find his home in the United States, where he settled in 1941, in Beverly Hills. He obtained United States citizenship in 1945.</p> <p>Despite a brief stint as Acting Music Director of the New York Philharmonic (1947-1949), Walter was engaged primarily as a guest conductor with orchestras in North America and in Europe. He became acquainted with Rudolf Bing while the latter was in charge of the Edinburgh Festival. When Bing became General Manager of the Metropolitan Opera in 1950 he was able to entice Walter into leading several operatic performances, most notably a revival of Mozart's Die Zauberflöte in 1956.</p> <p>Though his public appearances became less frequent during the 1950s, his recording activity assumed a major place in his life. A mild heart attack in 1957 led Walter to curtail many of his appearances. Even after his final public performances in 1960, Walter continued to record for Columbia Records, and plan for future recording projects.</p> <p>Bruno Walter died in his sleep at his home in Los Angeles on February 17, 1962.</p>"}
- custodhist
-
{"value"=>"<p>Formerly in the possession of Lotte Walter Lindt, Walter's daughter. Upon her death, the papers were held by the Bruno Walter Foundation.</p>"}
- scopecontent
-
{"value"=>"<p>The bulk of the collection dates from 1938-1962. It had been supplemented (through Lotte Walter Lindt's efforts) with reproductions of Walter's correspondence to various recipients. Most of Walter's pre-1938 correspondence was lost during wartime bombing (Lindt, Bruno Walter Briefe, p. 1). Correspondents with more than 10 items include Paul Badura-Skoda, Rudolf Bing, Karl Böhm, Adrian Boult, Van Cliburn, Kathleen Ferrier, Lotte Lehmann, Goddard Lieberson, Alma Mahler, Gustav Mahler, Thomas Mann, Daniel Gregory Mason, David Oppenheim, Hans Pfitzner, Wolfgang Streseman, Heinz Tietjen, Arturo Toscanini, BBC Symphony Orchestra, Columbia Records, Decca Record Company, Gustav Fischer Verlag, Gewandhausorchester Leipzig, Metropolitan Opera, New York Philharmonic, and Wiener Philharmoniker.</p>"}
{"value"=>"<p class='list-head'>The The Bruno Walter papers are arranged in eighteen series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/mus/20155#c536642'>Series 1: General Correspondence</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c537999'>Series 2: Correspondence Concerning Publications</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538083'>Series 3: Writings</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538112'>Series 4: Interviews</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538148'>Series 5: Schedules</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538237'>Series 6: Programs</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538262'>Series 7: Historical Letters</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538291'>Series 8: Historical Documents</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538297'>Series 9: Scrapbooks</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538302'>Series 10: Photographs 5\" x 7\"</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538555'>Series 11: Photographs 8\" x 10\"</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538745'>Series 12: Photographs 12\" x 15\"</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538823'>Series 13: Photographs 16\" x 21\"</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538844'>Series 14: Oversize Pictures</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538851'>Series 15: Books</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538879'>Series 16: Manuscript Scores</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538890'>Series 17: Printed Scores</a></div>\n</li><li><div class='series-title'><a href='/mus/20155#c538929'>Series 18: Memorabilia</a></div>\n<div class='series-description'><p>Items on display in the Bruno Walter Auditorium.</p></div></li></ul>\n", "type"=>"arrangement"}
- arrangement
-
{"value"=>"<p>Bruno Walter organized his correspondence files alphabetically by name and subject. These headings and organization have been retained for the collection.</p> <p>Files named after individuals can also contain correspondence concerning that individual (e.g. the files on Kathleen Ferrier, Gustav Mahler, and numerous composers). Because of this topical emphasis, occasionally correspondence from one individual will be found in several different locations. Thus, for example, correspondence to or from Rudolph Bing will be found in three locations: under his name, under the Edinburgh Festival file, and under the Metropolitan Opera file.</p> <p>Photographs included in correspondence were removed to Series 10-13 and have been noted.</p> <p>The words \"typed\" and \"handwritten\" are used for unsigned documents. \"Clipping\" refers to excerpts of newspapers or magazines, and \"mimeo\" refers to documents reproduced by mimeograph. The notation \"+ann\" indicates that the document(s) have been annotated, usually by Bruno Walter.</p> <p>The papers consist of eighteen series.</p> <p>Series 1 contains Bruno Walter's general correspondence. The arrangement by name and subject replicates Walter's own headings. Letters are to be found in English, French, German, and Italian.</p> <p>Series 2 contains Bruno Walter's correspondence regarding his publications and their translations, including <span class=\"title\">Gustav Mahler</span>, <span class=\"title\">Thema und Variationen</span>, <span class=\"title\">Von den moralischen Kräften der Musik</span>, and <span class=\"title\">Vom Mozart der Zauberflöte</span>. Most of the editions and translations mentioned in this series form part of Series 15 (see below).</p> <p>Series 3 contains Walter's articles <span class=\"title\">Ueber Beethovens Missa Solemnis</span>, <span class=\"title\">Von den moralischen Kräften der Musik</span>, <span class=\"title\">Vom Mozart der Zauberflöte</span>, and drafts for the English translation of <span class=\"title\">Von der Musik und vom Musizieren</span>.</p> <p>Series 4 contains interviews and correspondence concerning them. A few of these interviews were rejected by Walter and have never been published.</p> <p>Series 5 contains schedules of concerts and itineraries of tours.</p> <p>Series 6 contains the programs that were part of the collection, representing a small portion of the concerts over which Walter presided.</p> <p>Series 7 contains letters to or from musicians of historical significance. Included are letters by Johannes Brahms, Anton Bruckner, Gustav Mahler, Robert Radecke (one of Walter's teachers at the Stern Conservatory), Max Reger, Johann Strauss, Carl Maria von Weber and Hugo Wolf.</p> <p>Series 8 contains documents of historical interest, such as an invitation to Beethoven's funeral and handbills of early Mozart operas.</p> <p>Series 9 consists of three scrapbooks containing clippings. The first dates from 1887-1900 and contains the earliest documents in the Bruno Walter Papers. The second is from 1928-1932, and the third covers Walter's European tour of 1950 and includes a few letters.</p> <p>Series 10 contains photographs up to 5\" x 7\" in size. Several have autograph signatures (including Georges Enesco, Lotte Lehmann and Gustav Mahler, Hans Pfitzner and Arturo Toscanini). A great many are portraits of Walter, and many capture Mahler's summer retreats at Maiernigg and Toblach (today known as Dobaccio) and their environs.</p> <p>Series 11 contains photographs 8\" x 10\" in size, and includes autograph signatures of Edward Benes, Yehudi Menuhin, and Hans Pfitzner. Among the more interesting photographs in this series are from a tour of Hollywood in the late 1920s, containing images of Walter with movie stars such as Lillian Gish, Ramon Novarro, Joseph Schildkraut and Conrad Veidt.</p> <p>Series 12 contains photographs 12\" x 15\" in size, and includes autograph signatures of Manuel II and Augusta Victoria (King and Queen of Portugal), Ludwig Ferdinand and Pilar (Prince and Princess of Bavaria), Lotte Lehmann, and Hans Pfitzner. Several of the items in this series are newspaper clippings.</p> <p>Series 13 contains photographs 16\" x 21\" in size, including one signed by Thomas Mann.</p> <p>Series 14 consists of several oversized pictures. The three of Bruno Walter were place in the Music Division's Oversize Iconography file, while those of opera houses were placed in their respective files.</p> <p>Series 15 consists of books mostly by Bruno Walter, respresented in numerous editions and translations. (See also series II.)</p> <p>Series 16 contains the most valuable items in the collection: manuscripts of Bruckner, Mahler, Mozart (in the hand of Leopold Mozart), and Tchaikovsky. These items have been cataloged separately.</p> <p>Series 17 contains printed scores. Virtually all of Bruno Walter's scores were given by the Bruno Walter Foundation in 1962 to the Hochschule für Musik und Darstellende Kunst in Vienna. (For an inventory see: <span class=\"title\">Der Bruno Walter Nachlass</span> -- NYPL classmark: JMF 89-5.) Those found with the papers are mostly presentation scores (some with inscriptions by the donor). Among the more interesting items are photographs of two holograph pages of Schubert's song Amalia (the location of the autoograph has been unknown since 1869), a collection of piano music presented by the Stern Conservatory to the young Bruno Schlesinger (Walter's original name) in 1887, and a manuscript libretto for a German translation of Mozart's <span class=\"title\">Don Giovanni</span> made by Georg Wendling and Alfred Freiherrn von Wolzogen in anticipation of a production in Stuttgart in the early 1860s. None of Walter's published or unpublished compositions are part of the collection.</p> <p>Series 18 contains realia, all of them gifts from various performing organizations to Walter in gratitude for his contribution to musical life.</p>", "supress_display"=>true}
{"value"=>"<p>Microfilm is the preferred mode of access to Series 1-9 of the Bruno Walter Papers.</p> <p>Reel 1: Series 1, folders 1-61</p> <p>Reel 2: Series 1, folders 62-132</p> <p>Reel 3: Series 1, folders 133-203</p> <p>Reel 4: Series 1, folders 204-265</p> <p>Reel 5: Series 1, folders 266-332</p> <p>Reel 6: Series 1, folders 333-399</p> <p>Reel 7: Series 1, folders 400-461</p> <p>Reel 8: Series 1, folders 462-524</p> <p>Reel 9: Series 1, folders 525-590</p> <p>Reel 10: Series 1, folders 591-649</p> <p>Reel 11: Series 2</p> <p>Reel 12: Series 3 through 8; Series 9, Scrapbook 1</p> <p>Reel 13: Series 9, Scrapbooks 2-3</p>"}
- acqinfo
-
{"value"=>"<p>After Bruno Walter's death in 1962, his surviving daughter, Lotte Walter Lindt, was custodian of his papers. Upon her death in the 1970s, ownership of the collection went to The Bruno Walter Memorial Foundation, administered by Walter's lawyer, Victor Jacobs. The Foundation donated the Bruno Walter Papers to the New York Public Library in 1978.</p>"}
- separatedmaterial
-
{"value"=>"<p>Sound recordings have been removed to the Rodgers & Hammerstein Archive of Recorded Sound.</p> <p>Audiovisual materials separated from archival collections are cataloged individually and can be found in the Library catalog. Search CATNYP, The New York Public Library catalog.</p>"}
- processinfo
-
{"value"=>"<p>Processed by Richard Koprowski, Fran Barulich, and Robert Kosovsky; machine-readable finding aid created by Robert Kosovsky.</p>"}
- accessrestrict
-
{"value"=>"<p>Microfilm is the preferred mode of access for Series 1-9. The classmark is: *ZB-2677. For series 10-15, and 17-18, there are no restrictions to access. For Series 16, users should direct inquiries to the Head of Rare Books and Manuscripts of the Music Division.</p>"}
- userestrict
-
{"value"=>"<p>For permission to copy or publish please contact the Music Division.</p>"}
- relatedmaterial
-
{"value"=>"<p>Bruno Walter's conducting scores are located in the Universität für Musik und darstellende Kunst in Vienna.</p> <p>For an inventory, see: <span class=\"title\">Der Bruno Walter Nachlass in der Bibliothek der Hochschule für Musik und Darstellende Kunst in Wien</span> - (NYPL classmark: JMF 89-5).</p>"}
- note
-
{"value"=>"Sound recordings and two reels of silent 16mm film have been transferred to the Rodgers and Hammerstein Archives of Recorded Sound"}
{"value"=>"Manuscript and printed scores have been cataloged separately in the scores file. Some manuscript and printed books have been cataloged separately in the books file"}
- date_start
-
1887
- keydate
-
1887
- date_end
-
1966
- date_inclusive_start
-
1887
- date_inclusive_end
-
1966