{"id":6810,"date":"2020-11-30T13:35:24","date_gmt":"2020-11-30T18:35:24","guid":{"rendered":"https:\/\/esm4.esm.rochester.edu\/sibley\/?page_id=6810"},"modified":"2020-11-30T13:35:24","modified_gmt":"2020-11-30T18:35:24","slug":"ser4-8","status":"publish","type":"page","link":"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/bphillips\/ser4-8\/","title":{"rendered":"BURRILL PHILLIPS COLLECTION"},"content":{"rendered":"

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<\/a>Series 4: Correspondence<\/h3>\n

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<\/a>Sub-series 1: Correspondence on compositions<\/span><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 30 `{`cont.`}`” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606856998140{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 8<\/strong><\/td>\nThe Age of Song<\/em>.
\nCorrespondence to Burrill Phillips pertaining to performances of The Age of Song<\/em>:<\/p>\n
    \n
  • Lloyd Pfautsch to Burrill Phillips. 7 letters (6 typescript, 1 ink); dated between July 29, 1952, and March 9, 1954; 2 undated. 10 pages.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nAmerican Dance<\/em>.
\nCorrespondence to Burrill Phillips pertaining to performances of American Dance<\/em>:<\/p>\n
    \n
  • 4 letters (4 typescript); dated between February 2, 1933, and January 10, 1951. 5 pages.<\/li>\n
  • Correspondents represented: David Mauver, Robert L. Sanders (Chairman, Brooklyn College), Charles Seeger (Chief, Division of Music and Visual Arts, Pan American Union), Josephine White.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nConcerto Grosso<\/em>.
\nCorrespondence to Burrill Phillips pertaining to Concerto Grosso<\/em> and performances of the work:<\/p>\n
    \n
  • 18 letters (14 typescript, 4 ink); dated between January 27, 1951, and March 22, 1972. 19 pages.<\/li>\n
  • Correspondents represented: Richard Bales (Assistant to the Director, National Gallery of Art) (4 letters), Irma I. Ersenberg, John Garnes(?) (Cornell University), Robert Hull (Cornell University) (2 letters), Harry Kownatsky (Acting Curator, Edwin. A. Fleisher Music Collection, Free Library of Philadelphia) (2 letters), Howard Shanet (Columbia University in the City of New York) (4 letters), Anne Stern, Bela Urban (Associate Chairman, Julius Hartt Musical Foundation), Virginia Wallenstein, Paul Wolfe.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nConversations and Colloquies<\/em>.
\nCorrespondence to Burrill Phillips pertaining to performances of Conversations and Colloquies<\/em>:<\/p>\n
    \n
  • 6 letters (4 typescript, 2 ink); dated between November 17, 1952, and March 7, 1963. 7 pages.<\/li>\n
  • Correspondents represented: George Grossman, Marjorie Lundin (Assistant Music Director, WUOM, University of Michigan) (3 letters), Mariette Simpson (College of Emporia), Teddy Strongin.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nCanzona III<\/em>.
\nCorrespondence to Burrill Phillips pertaining to performances and recordings of Canzona III<\/em>:<\/p>\n
    \n
  • 4 letters (3 typescript, 1 ink); dated between May 25, 1965, and June 22, 1971. 5 pages.<\/li>\n
  • Correspondents represented: Carter Harman (Executive Vice President, Composers Recordings) (2 letters), Carl Wolz (2 letters).<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nCanzona IV<\/em>.
\nCorrespondence to Burrill Phillips pertaining to performances of Canzona IV<\/em>:<\/p>\n
    \n
  • Bob Wykes to Burrill Phillips. 3 letters (3 ink); dated July 20, 1965, and December 27, 1966; 1 undated. 6 pages; accompanied by 3 envelopes.<\/li>\n<\/ul>\n

    Oversized item (1 letter) separated; see Box 55, Folder 5.<\/em><\/p>\n<\/td>\n<\/tr>\n

folder 14<\/strong><\/td>\nCanzona V<\/em>.
\nCorrespondence to Burrill Phillips pertaining to the composition of Canzona V<\/em> and its performances:<\/p>\n
    \n
  • 11 letters (8 typescript, 3 ink), 1 postcard (ink); dated between April 16, 1971, and November 15, 1972. 19 pages.<\/li>\n
  • Correspondents represented: Harry Carter (California State University, Hayward), Harold A. Decker (Chairman, Choral Department, University of Illinois at Urbana-Champaign) (6 letters), Claire Richards (4 letters, 1 postcard).<\/li>\n
  • Letter from Harry Carter (dated November 15, 1972) accompanied by purchase order from California State Colleges; dated November 1, 1972. 1 page.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nConcert Piece for Bassoon and Strings<\/em>.
\nCorrespondence to Burrill Phillips pertaining to the performance and publication\/printing of Concert Piece for Bassoon and Strings<\/em>:<\/p>\n
    \n
  • 17 letters (16 typescript, 1 ink); dated between April 28, 1947, and May 5, 1966. 19 pages.<\/li>\n
  • Correspondents represented: Arthur Cohn (Head, Music Department, Free Library of Philadelphia), Hugh J. Curry (Major-Leader, Commanding, US Army Band), Marion A. Davis (Financial Secretary, Eastman School of Music), Shirley Ferchand (Program Department, Chicago Symphony Orchestra), Gunther Jacobius (Denver Symphony Orchestra), H. Owen Reed, Sol Schoenbach (2 letters), Arthur M. See (Executive Director, Eastman School of Music) (3 letters), Margaret H. Stanton (Music Librarian, Michigan State College) (2 letters), Litchard Toland (Librarian, Eastman School of Music) (2 letters), Hellmuth Christian Wolff, Kerie [illegible], [illegible] (Financial Secretary, Eastman School of Music).<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nCourthouse Square<\/em>.
\nCorrespondence to Burrill Phillips pertaining to performance of Courthouse Square<\/em>:<\/p>\n
    \n
  • Arthur Cohn (Director, Settlement Music School) to Burrill Phillips. 2 letters (2 typescript); dated April 22, 1953, and May 21, 1953. 2 pages.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nDeclaratives<\/em>.
\nCorrespondence to Burrill Phillips pertaining to performance of Declaratives<\/em>:<\/p>\n
    \n
  • Henry Veld (Conductor, Augustana Choir) to Burrill Phillips. 1 letter (1 typescript); dated February 7, 1958. 1 page.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nDivertimento for String Orchestra<\/em>.
\nCorrespondence to Burrill Phillips pertaining to performances of Divertimento for String Orchestra<\/em>:<\/p>\n
    \n
  • 7 letters (7 typescript); dated between October 12, 1951, and July 27, 1964. 7 pages.<\/li>\n
  • Correspondents represented: Richard Bales (Assistant to the Director, National Gallery of Art) (2 letters), Guy Fraser Harrison (Music Director and Conductor, Oklahoma City Symphony Orchestra), Harry Kownatsky (Acting Curator, Free Library of Philadelphia), Theodore A. Seder (Curator, Edwin A. Fleisher Music Collection, Free Library of Philadelphia).<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nDon\u2019t We All<\/em>?
\nCorrespondence to Burrill Phillips and Alberta Phillips pertaining to performances of Don\u2019t We All?,<\/em> including requests for examination copies:<\/p>\n