Finding Aid for the Eugene Zádor Collection of music manuscripts, ca. 1955-1965

Autographs

Box 2, Folder 2

1 leaf; autograph letter signed; 5" x 8".

Scope and Content Note

January 15, 1969 Zador envies Breur his facility with languages. Finds composing mere child's play but writing and speaking very hard work. Has two commissions, one for a concert for bass, the other for cymbalon. Still nothing definitive about the "Scarlet mill." Wupperthal hesitates after the failure with "Visitation." Would love finding an efficient agent in Germany.

Box 2, Folder 3

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

February 12, 1969 Zador acknowledges receiving reviews in the Vienna Volksblatt. Deplores that in Vienna opera choices are made by the Ministry For Cultural Affairs. Is frustrated by the sporadic availability of "Aufbau." Includes copy of his biography, announces New York visit in April, is sorry that the piece ("Aria and Allegro") is so short.

Box 2, Folder 4

1 leaf; autograph letter signed; 5" x 8".

Scope and Content Note

March 15, (1969) Sounds worried about the performance on April 15 at Philharmonic Hall: are critics expecting an atonal sensation (in which case they will pan it)? Sends positive review from recent performance of the piece elsewhere to forestall criticism. Recuperating from prostate operation.

Box 2, Folder 5

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

March 27, 1969 Appreciates Breuer's articles in Aufbau more than all music Publications in the US combined. Recuperating from operation. Chats about daughter Peggy, student with Balanchine in N.Y. "Rote Mühle" to be performed in Essen. Musical Director Schuhmacher was enthused about it - nothing, however, is happening with the piece in the US. All conductors love it, but when it comes down to it, will put "La Traviata" on the program.

Box 2, Folder 6

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

April 29, 1969 Thanking for positive remarks about "Aria and Allegro." The Saratoga Springs Concerts will open with his piece, and a Viennese conductor living in L.A. read about it in "Aufbau" and wants to schedule it for next season.

Box 2, Folder 7

2 leaves; autograph letter signed; 5" x 8".

Scope and Content Note

July 31, 1969 Daughter about to get married and move to Heidelberg. Expressing interest in Breuer article about works having to do with moon and stars. Convinced that "Moon River" has brought in more royalties than any other music ever published. Is working on a "Rhapsody for Cymbalon and Orchestra." Says he loves writing for, what he calls, underprivileged instruments. Did a trombone concerto two years ago and a Concerto for Bass last year - might tackle a piece for recorder, krummhorn and sackbutt next (inspired by one of Breuer's articles). "Rote Mühle" is moving slowly; no contract yet from Essen.

Box 2, Folder 8

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

January 18, 1970 Sending Breuer a book, on the "thermophiliac" idea of the old Jews, an idea that later forms the basis for Schönberg's "Warsaw Cantata." Claims to have no talent for oratoria himself, but that the book might interest Copland, Siegmeister, Weissgall or even Bernstein.

Box 2, Folder 9

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

March 12, 1970 Sending David Even's (?) book "Composers since 1900," in which Breuer is quoted on p.501.

Box 2, Folder 10

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

May 10, 1970 Felt that Breuer was communicating directly with him in his review of "The Rake's Progress" since he feels partly to blame for the conception of the piece. He'd given Stravinsky the 40-line paper sixteen or seventeen years ago when they met at a friend's place in L.A. Describes his "Studies for Orchestra" which he finished two months ago: it consists of eight short pieces, 23 minutes in all, to which he brings his entire musical experience, all the tonal coloration and harmonic combinations; does not want to write atonally. Seeks progressive instrumentation, hence the title "Orchestra Studies" (sic) which allows him a few provocative passages. Is annoyed with Stokowski who, having had great success with Zador's "Ungarische Capricis" in Hollywood Bowl, asked for the score of his new piece, for a premiere, which he received and then totally ignored. "Senility entitles no one to waste someone else's season." Asks Breuer to find him an agent in N.Y. who could bring him closer to Maazel, Bernstein and Schipper. Feels L.A. is an island on which he is stranded.

Box 2, Folder 11

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

September 7, 1970 Sends book by Sergeant. Is amazed that a man who describes his neurotic past in such exhibitionist fashion can actually write such healthy, normal-sounding reviews. Will be going to Detroit for Ehrling's premiere of his "Orchestra Studies" in November.

Box 2, Folder 12

1 leaf; autograph postcard signed; 6" x 4".

Scope and Content Note

November 4, 1970 Happy with reception of "Orchestra Studies" at its premiere: four curtain calls, endless applause.

Box 2, Folder 13

1 leaf; autograph letter signed; 5" x 8".

Scope and Content Note

December 1, (1970) Sending review of Detroit performance. Ehrling is planning to take it on tour.

Box 2, Folder 14

1 leaf; autograph letter signed; 5" x 8".

Scope and Content Note

February 11, 1971 Thanking Breuer for a poem. Rediscovered in a German encyclopedia that he had composed an adaptation from Gogol's "Revisor" forty-two years ago, which he had totally forgotten about. Handed it to a conductor in search of a score. The premiere is scheduled in three to four months!

Box 2, Folder 15

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

May 13, (1971) Enjoyed Breuer's article on Stravinsky Memorial Celebration. In general appreciates Breuer's harshness on "blasphemy" in concert music. Mass exodus in concerts of that kind was so large that they finally had to be cancelled. Fears Stockhausen and his ilk have discredited contemporary music. Frustrated with conductors' off-handed way of dealing with scores. Announces June 11 premiere of his 1928 piece "The Inspector General" (Gogol's "Revisor"). Is happy to have highly talented students performing it.

Box 2, Folder 16

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

May 19, (1971) Describes El Camino College with its beautiful auditorium. The Beach Cities Orchestra will premiere the piece. ("Revisor"?)

Box 2, Folder 17

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

June 4, 1971 Knew that Werner Egk had done an orchestration for the "revisor" also, but is unfamiliar with the other two that Breuer came up with. Is amazed that the conductor can pull together this performance for a choir of thirty-five plus sixty-five musicians, without the help of Ford Foundation or Arts Commission grants. Since the piece was written in 1928, and not finished until 1935, no electronics, tapes or synthesizers appear in the score.

Box 2, Folder 18

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

October 28, 1971 Satisfied with two opera performances, but disappointed that his "Studies for Orchestra," after twenty performances on the West Coast, still had not made it to N.Y., "where it really belongs." It used to be you would just send the conductor the score, later it was tape, today you need an aunt or uncle on board. His "Columbus" opera was performed in L.A. after thirty-two years.

Box 2, Folder 19

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

April 21, 1972 Interested in Breuer's articles about the Milwaukee Orchestra, Lorin Maazel, and Messiaen. Ormandy asked him once when he was gong to write his "Daphnis and Chloe." He thinks he may have written a modern version of it with his "Orchestra Studies." Maybe if it were electronic music would he fare better with it in N.Y.?

Box 2, Folder 20

2 leaves; autograph letter signed; 5" x 8".

Scope and Content Note

November 12, 1972 After two years, twenty-six concerts in the West, still no recognition of "Orchestra Studies" in the East, even though his publishers are there. Announcing switch to chamber music for which you don't need a publisher's help since groups and universities are always looking for new pieces. Ormandy's brother Martin is performing his "Duo Fantasy for Two Cellos and Strings" on November 28 at Hunter College.

Box 2, Folder 21

1 leaf; autograph postcard signed; 5 1/2" x 3 1/2".

Scope and Content Note

March 14, 1973 Tells of "Orchestra Studies" performance by the Denver Symphony. First-rate orchestra and conductor, great reviews.. and N.Y.?

Box 2, Folder 22

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

March 28, 1973 Asks Breuer a one-time favor, namely to tell Dohnanyi about "Rote Mühle." Thinks his chances in Germany now are good since everybody is getting tired of Penderecki and Fortner. Has good translation of first act.

Box 2, Folder 23

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

April 18, 1973 Finds Arthur Cohn ineffective as agent in N.Y. "Orchestra Studies" will be in Vienna, Stuttgart and Hamburg next year.

Box 2, Folder 24

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

June 5, 1973 Has received commission from Barry Tuchwell for a horn concerto. Somebody told him, that's just like Paganini writing a concerto for violin or Liszt writing one for piano. "Since Dohnanyi has not responded to your letter, he has entered the circle of great conductors; only the little conductors bother to write."

Box 2, Folder 25

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

August 19, 1973 Happy about word from Frankfurt, sending score to Dohnanyi.

Box 2, Folder 26

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

October 15, 1973 Asks Breuer to deliver score and tape of "Rote Mühle" to Gabor Ötrös (Director, Augsburg State Theater) who has an engagement at the Met and is apparently eager to see the score. "Rote Mühle" is about to be performed at UCLA. (Dohnanyi is very unreliable, still has not responded.)

Box 2, Folder 27

4 leaves; Christmas card; 5 1/2" x 8".

Scope and Content Note

December 9, (1973) Happy with Breuer's piece on Gabor Ötrös. European fashion still dictates ultra-modern music. Hoping that Ötrös will opt for the "Scarlet Mill." (Dohnanyi plays only Henze, Penderecki and Schönberg operas.)

Box 2, Folder 28

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

January 12, 1974 Complains about difficulties of rehearsing "Rote Mühle" at UCLA under such financial strains.

Box 2, Folder 29

1 leaf; autograph letter signed; 5" x 8".

Scope and Content Note

Sunday (1974) Exhausted by receptions surrounding performances of his opera. Sarcastic about the importance of social get-togethers at the University.

Box 2, Folder 30

4 leaves; autograph letter signed, 5" x 8"; photocopy, 5 3/4" x 9".

Scope and Content Note

July 28, 1974. Includes a photocopy of a review of Zador's opera "The Scarlet Mill." Wonders if so many of his works are scheduled because of his 80th birthday. Nostalgic about the eight performances in Germany of his one-act piece "x times Rembrandt." The question of grants is barring "Rote Mühle" from similar success.

Box 2, Folder 31

3 leaves; autograph letter signed; 5" x 8".

Scope and Content Note

September 2, 1974 Deplores changes in the finances in the art world. Lists, as requested, his recent works: 1. Piece for clarinet and Strings 2. Duo Fantasy for two cellos and orchestra 3. Quintet for brass 4. Quintet for woodwinds 5. Trombone Concerto 6. Horn Concerto 7. Bass Concerto 8. Accordion Concerto His oratorio "The Judgement (of Solomon)" was premiered in May. He is working on another biblical story, Cain.

Box 2, Folder 32

4 leaves; program with autograph letter signed; 5 1/2" x 8 1/2".

Scope and Content Note

November 21, (1974). Program bears a portrait of Zador. Program entitled, "A public concert with Eugene Zador." "A musical tribute on the occasion of the composer's 80th birthday" (p.3). Preparations for concerts were taxing, had to do instrumentation for songs and rehearse all sections. Wrote the accordion concerto because there was absolutely no literature for it. Was delighted to have had to turn away 500 people at the door.

Box 2, Folder 33

2 leaves; autograph letter signed; 6" x 9".

Scope and Content Note

May 10, 1975 Has become a grandfather, writes lullabies, but is also working on symphonic pieces and on an opera. L.A. will open its bicentennial celebration with his "Christopher Columbus." Is delighted that his mini-opera "Yehu," written in November, has been picked up by ten ensembles.

Box 2, Folder 34

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

June 23, 1976 Wonders why Ormandy, Szell, Dorati are the only Hungarian conductors that come in for praise. Finds Laszlo Halasz, founder of City Opera, at least as deserving.

Box 2, Folder 35

1 leaf; typed letter signed; 8 1/2" x 11".

Scope and Content Note

September 29, 1976 Sending record of his oratorio "Christopher Columbus, "..which was recorded with a Ford Foundation grant by the American Symphony Orchestra (Laszlo Halasz conducting) and released commercially by Orion Master Records." Lionel Barrymore had read the narration. Puzzled that more works weren't written for "the discover of our country;" hopes it will get radio play on Columbus Day.

Box 2, Folder 36

1 leaf; autograph letter signed; 5" x 8".

Scope and Content Note

February 26, (19??) Expecting a visit by Fiedelind Wagner.

Box 2, Folder 37

1 leaf; autograph letter signed; 8 1/2" x 11".

Scope and Content Note

November 9, (19??) Has received two requests by universities, would prefer German houses since he feels they have a greater appreciation of creative librettos.

Box 2, Folder 38

4 leaves; Christmas card; 5 1/2" x 7 3/4".

Scope and Content Note

December 8, (19??) Sending Christmas greetings.

Box 2, Folder 39

4 leaves; Christmas card; 5 1/2" x 7".

Scope and Content Note

(n.d.) Zador is grateful for fabulous review of "Kolumbus."

Box 2, Folder 40

4 leaves; Christmas card; 5 1/2" x 7".

Scope and Content Note

(n.d.)

Box 2, Folder 41

1 leaf; program with autograph note signed; 6 1/2" x 8 1/2".

Scope and Content Note

(1973) Program announces upcoming Zador performances in 1974 and early 1975.

Box 2, Folder 42

1 leaf; autograph note signed; 5" x 8".

Scope and Content Note

(n.d.) "You are an angel!"

Box 126, Folder 1

1 leaf; autograph letter signed; 5" x 8".

Scope and Content Note

November 22, 1968 Zador expresses gratitude for reviews. "Since most opera conductors are European, they still prefer to read German." Is corresponding with Wuppertal and Herbert Graf (Geneva) about "Rote Mühle", asks for an introduction to Maazel (Berlin). Only Popper and Strickland have expressed any interest in the US, but everything hinges upon grants.

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