Finding Aid for the Eugene Zádor Collection of music manuscripts, ca. 1955-1965
Processed by UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé.
UCLA Library Special Collections
Room A1713, Charles E. Young Research Library
Box 951575
Los Angeles, CA 90095-1575
Email: spec-coll@library.ucla.edu
URL: http://www.library.ucla.edu/libraries/special/scweb/
© 2002
The Regents of the University of California. All rights reserved.
Descriptive Summary
Title: Eugene Zádor Collection of music manuscripts
Date (inclusive): ca. 1955-1965
Collection number: PASC-M 22
Creator:
Zador, Eugene
Extent:
126 boxes (63 linear ft.)
Abstract: This collection consists of autographed manuscripts of orchestral works.
Language: Finding aid is written in
English.
Language of the Material:
Materials are in English.
Repository:
University of California, Los Angeles. Library Special Collections.
Los Angeles, California 90095-1575
Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections
for paging information.
Administrative Information
Restrictions on Access
Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library
Special Collections for paging information.
Restrictions on Use and Reproduction
Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the
creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright
owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.
Provenance/Source of Acquisition
Gift of Zádor family, 1969.
Preferred Citation
[Identification of item], Eugene Zádor Collection of music manuscripts (Collection Number PASC-M 22). UCLA Library Special
Collections, Charles E. Young Research Library, UCLA.
Biography/History
Zádor was born on Nov. 5, 1894 in Bátaszék,
Hungary; studied under Richard Heuberger at the
Vienna Conservatory (1911) and under Max Reger in
Leipzig (1912-14); attended lectures given by
Hermann Abert (1913-14) and Arnold Schering
(1919-20) at the Univ. of Halle, and studied with
Fritz Volbach at Münster Univ. (1920-21), where he
took his doctorate; was invited to teach at the
New Vienna Conservatory in 1921, and in 1934 he
became an honorary teacher at the Budapest Academy
of Music; he left Hungary in 1939, finally
settling in Los Angeles; composed many operas and
orchestral pieces, including the Hungarian
caprice; wrote over 120 film scores for Hollywood;
he died on Apr. 4, 1977.
Scope and Content
Autograph manuscripts of orchestral works.
Includes: Fairy Tale: The remarkable adventures of
Henry Bold, On the Banks of the Wabash, Rhapsody
for Cimbalom and orchestra, Scherzo for orchestra,
Tempest suite, Fugato for orchestra, Piano
concerto, Melody and vivo for orchestra, Symphony
no.1, Fugue fantasia for orchestra, Prelude and
fugue for orchestra.
and:
42 autographs comprising 32 autograph letters
signed, one typed letter signed, two autograph
postcards signed, four Christmas cards with
autograph notes signed and two programs honoring
the composer on his 80th birthday, with autograph
notes signed. Dated 1968-1976, mostly on the
composer's letterhead paper from his home in Los
Angeles. All to the music critic Robert Breuer of
New York. Nearly all in German; an English
summary is included.
Indexing Terms
The following terms have been used to index the description of this collection in the library's online public access catalog.
Subjects
Zádor, Eugene, 1894-1977--Archives.
Composers--Archival resources.
Orchestral music--Scores.
Music--Manuscripts.
Container List
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.
