Rare Book & Manuscript Library
 

Jack Beeson papers, 1933-2010

Summary Information

Abstract

Jack Beeson (1921-2010) was a noted twentieth-century American composer, professor of composition, and the chair of the Columbia University Department of Music from 1968 to 1972. The collection includes scores, correspondence, subject files, scrapbooks, datebooks, drafts of written works, biographical materials, programs, and audio and audiovisual recordings.

At a Glance

Call No.: MS#0097
Bib ID 4079092 View CLIO record
Creator(s) Beeson, Jack, 1921-2010
Title Jack Beeson papers, 1933-2010
Physical Description 46.5 linear feet (56 document boxes 12 flat boxes 10 record storage cartons 1 CD box)
Language(s) English .
Access

The following boxes are located off-site: 2-80. You will need to request this material from the Rare Book and Manuscript Library at least three business days in advance to use the collection in the Rare Book and Manuscript Library reading room.

This collection has no restrictions.

If you would like to use audiovisual materials in Series X, please contact the library to discuss access options as most of these materials have not been reformatted and are not readily available for use.

Arrangement

Arrangement

This collection is arranged in twelve series and several subseries.

Description

Summary

Jack Beeson (1921-2010) was a noted American composer and teacher of composition. Beeson's papers include a composition diary, biographical materials, scores, written works, scrapbooks, correspondence, files, datebooks, programs, and audio and audiovisual recordings, as well as written and musical works by other authors.

The strength of the collection is the documentation of Beeson's activities as a composer. Beeson recorded each of his compositions in a composition diary, which details all drafts, performances, and published versions of each work. Almost all of the works recorded in the diary are represented in the papers by drafts and holographs, and often by published scores as well. Documentation of Beeson's numerous operas includes drafts of libretti as well as background research materials (including some abandoned ideas for operas). In addition, Beeson's scrapbooks include clippings, correspondence, photographs, programs, promotional material, reviews, interviews, and other material related to his compositions. As well, his personal subject files and correspondence document his activities as a composer, including correspondence with publishers, performers, librettists, and other composers and collaborators. Copyright files are still held by Beeson's daughter, Miranda Beeson, at this time, and may be added to the collection at a future date.

The papers also contain documentation of Beeson's work as a professor and administrator at Columbia University's Department of Music, where he was ultimately appointed MacDowell Professor Emeritus of Music. These activities include helping to establish doctorate programs in composition, theory, and ethnomusicology, and working to enlarge the University's commitment to the arts, as well as teaching many cohorts of composition students. There is also documentation of Beeson's participation in many New York-based and national organizations for the arts (particularly for the promotion and support of new American music), including the Pulitzer Prize music committee, Composers Recordings, Inc., the American Music Center, Composers' Forum, American Composers Alliance, the American Society of Composers, Authors and Publishers (ASCAP), the American Academy of Arts and Letters, and the Alice M. Ditson Fund at Columbia.

The multimedia component of the papers includes commercially produced audio recordings of several of Beeson's works. Audiovisual and photographic documentation are sparse. There are a few original visual works including sketches of sets and characters for Beeson's operas. Many photographs are still held by Beeson's family; these may be added to the collection at a future date.

The papers include little documentation of Beeson's family life. The "JB" scrapbooks contain mostly published photos and interviews relating mainly to Beeson's musical activities; as well, most of his correspondence relates to professional and artistic activities and relationships. Beeson does document his family life in his autobiography/memoir, How Operas Are Created by Composers and Librettists: The Life of Jack Beeson, American Opera Composer.

  • Series I: Composition diary, 1956-2009

    Beeson logged all of his works (including dates and locations of composition and of performances of them) in this diary, referred to by Beeson as the "Latouche book." Beeson used his own system of numbering his works in this diary, referred to by him as "Latouche numbers" (a personal system of opus numbers not used by his publisher or in any of Beeson's published writing about his works). This system has been used to chronologically organize the records in this collection. Works prior to 1956 were recorded and backdated, and the total number of logged works at the time of Beeson's death was 136. The Latouche book can be used as a comprehensive guide to Beeson's composition activities.

    The Latouche book is represented here by a facsimile reference copy. There is also a microfilm copy available for reference: MN#2010-7007. Please request access to the original book if required.

  • Series II: Biographical Materials, 1939-2010

    This series contains materials that include biographical information on or related to Beeson: yearbooks, awards, published interviews, obituaries, and programs for his memorial concert at Columbia University.

  • Series III: Musical Works, 1933-2010

    This series contains documents pertaining to original works composed by Beeson. The bulk of the series is comprised of sketches, drafts, holographs, and published scores, but the series also includes related research material, libretto drafts, notes, and correspondence. Almost all of Beeson's works logged in his composition diary are represented here, excepting a few early works; most include a draft with markings and a final-version holograph transparency in the composer's hand.

    The series is arranged chronologically by work according to Beeson's "Latouche numbers" (his own system of opus numbers; see Series I). Within each work, materials are arranged in approximate chronological order. The series begins with fourteen spiral notebooks of early sketches and drafts composed while at Eastman, which include sketches and drafts of early Latouche-numbered works, as well as some early compositions not recorded in the Latouche book.

  • Series IV: Written Works, circa 1962-2006

    This series contains drafts and published copies of written works by Beeson, divided into two subseries. The bulk of the first subseries is a handwritten first draft of Beeson's autobiography, How Operas Are Created by Composers and Librettists: The Life of Jack Beeson, American Opera Composer, which Beeson termed "The Book." The second subseries includes typescript drafts of "The Autobiography of Lizzie Borden" (later published as an article in Opera Quarterly and as a chapter of The Book), and two issues of the journal Current Musicology with articles by Beeson.

  • Series V: Scrapbooks, 1929-2010

    This series contains scrapbooks created by Beeson, where he collected materials pertaining to his life and his works. The scrapbooks include news clippings, correspondence, programs and pamphlets, research materials, notes, and photographs. The series is divided into three subseries: scrapbooks pertaining to Beeson's musical works, to Beeson's autobiography ("The Book"), and to Beeson's life and hobbies (the "JB" scrapbooks).

  • Series VI: Correspondence, circa 1943-2006

    This series contains the bulk of Beeson's correspondence. It is divided into two subseries: the first, containing correspondence with individuals whom Beeson deemed "VIP," is arranged chronologically by item; the second, containing miscellaneous correspondence, is arranged chronologically by 6-month or 12-month (academic year) periods.

    This series contains mainly Beeson's miscellaneous personal correspondence, as well as some correspondence relating to Columbia University Department of Music activities. Much of Beeson's correspondence relating to his capacity as professor, chairman, board member, and elected official at Columbia University and numerous arts organizations within and outside of the university is contained in the Subject Files (Series VII), labeled by department or organization. Frequent correspondence with some key individuals, such as Otto Luening, Douglas Moore, John Updike, and several of Beeson's collaborators and colleagues, are also found in the Subject Files (Series VII), under the surname of the correspondent. Some correspondence relating to the composition and performance of Beeson's works is contained in the Musical Works series (Series III), and in Beeson's scrapbooks (Series V).

  • Series VII: Subject Files, circa 1933-2010

    This series contains papers related to Beeson's roles as a professor, administrator, and composer. It is divided into two subseries, loosely titled "professional" and "personal." The "professional" subseries relates to Beeson's activities at Columbia University, while the "personal" subseries includes documents pertaining to music- and arts-related activities outside of his professional appointments, and also includes research for composition projects, and correspondence with figures in the arts.

  • Series VIII: Datebooks, 1964-2009

    This series includes approximately one datebook per year from 1964 to 2009. 1974 is missing, and there are two books each for 1968 and 1970.

  • Series IX: Programs, 1942-2014

    This series includes loose programs from concerts attended by Beeson, and is divided into two subseries: concerts featuring works by Beeson, and concerts without works by Beeson. The series is small, as many programs are incorporated into the scrapbooks (Series V), correspondence (Series VI), and subject files (Series VII).

  • Series X: Multimedia, 1965-2013, undated

    This series includes audio, audiovisual, and assorted other materials relating to performances of Beeson's compositions.

  • Series XI: Works by Other Authors, 1854-2002, undated

    This series contains works by other authors in Beeson's personal collection that are inscribed or annotated by Beeson or others. It is divided in two subseries. The first subseries contains books, articles, and dissertations (i.e. written works), and the second contains scores and libretti (i.e. musical works).

  • Series XII: Additions to the Collection

Using the Collection

Rare Book and Manuscript Library

Restrictions on Access

The following boxes are located off-site: 2-80. You will need to request this material from the Rare Book and Manuscript Library at least three business days in advance to use the collection in the Rare Book and Manuscript Library reading room.

This collection has no restrictions.

If you would like to use audiovisual materials in Series X, please contact the library to discuss access options as most of these materials have not been reformatted and are not readily available for use.

Terms Governing Use and Reproduction

Single photocopies may be made for research purposes, except that permission is required to copy musical scores. The RBML maintains ownership of the physical material only. Copyright remains with the creator and his/her heirs. The responsibility to secure copyright permission rests with the patron.

Preferred Citation

Identification of specific item; Date (if known); Jack Beeson papers; Box and Folder; Rare Book and Manuscript Library, Columbia University Library.

Ownership and Custodial History

Gift of Jack Beeson, 1984, 2009-2010.

About the Finding Aid / Processing Information

Columbia University Libraries, Rare Book and Manuscript Library

Processing Information

Surveyed Christina Hilton Fenn 04/03/89.

Papers processed by Emily Clark (GSAS) 2014-2015.

Finding aid written by Emily Clark 2015.

Revision Description

2009-06-26 File created.

2015-02-18 XML document instance created by Catherine C. Ricciardi

2019-05-20 EAD was imported spring 2019 as part of the ArchivesSpace Phase II migration.

Subject Headings

The subject headings listed below are found in this collection. Links below allow searches at Columbia University through the Archival Collections Portal and through CLIO, the catalog for Columbia University Libraries, as well as ArchiveGRID, a catalog that allows users to search the holdings of multiple research libraries and archives.

All links open new windows.

Genre/Form

Heading "CUL Archives:"
"Portal"
"CUL Collections:"
"CLIO"
"Nat'l / Int'l Archives:"
"ArchivedGRID"
Scores (documents for music) Portal CLIO ArchiveGRID

Subject

Heading "CUL Archives:"
"Portal"
"CUL Collections:"
"CLIO"
"Nat'l / Int'l Archives:"
"ArchivedGRID"
Beeson, Jack, 1921-2010 Portal CLIO ArchiveGRID
College teachers Portal CLIO ArchiveGRID
Columbia University -- Faculty Portal CLIO ArchiveGRID
Columbia University. Music Department Portal CLIO ArchiveGRID
Composers -- United States Portal CLIO ArchiveGRID
Copland, Aaron, 1900-1990 Portal CLIO ArchiveGRID
Elmslie, Kenward Portal CLIO ArchiveGRID
Harnick, Sheldon Portal CLIO ArchiveGRID
Moore, Douglas, 1893-1969 Portal CLIO ArchiveGRID
Music -- United States -- 20th century Portal CLIO ArchiveGRID
Opera -- United States -- 20th century Portal CLIO ArchiveGRID

History / Biographical Note

Biographical / Historical

Jack Beeson, 1921-2010, composed over 120 works and was known primarily for his work in opera, song, and other vocal genres.

Born on July 15, 1921 in Muncie, Indiana, Beeson began piano lessons with Luella Weimer in 1928 at the age of seven, discovered a love of opera through the Metropolitan Opera's Saturday afternoon radio broadcasts, and began to compose in 1933. Beeson did his undergraduate work at the University of Toronto's Conservatory of Music, 1933-1938, and his graduate work at the Eastman School of Music, 1939-1944. Subsequently, he moved to New York City to study privately with Bela Bartok from 1944 to 1945. Through a chance encounter with the composer Otto Luening (later Beeson's mentor), Beeson was invited to attend Columbia's Opera Workshop, and thus began a lifelong relationship with Columbia University (where he eventually became MacDowell Professor Emeritus of Music) and the new American music scene in New York.

Beeson is perhaps best known for his ten operas, including Hello Out There (1953), The Sweet Bye and Bye (1958), Lizzie Borden (1965), My Heart's in the Highlands (1969), Cyrano (1994), and Sorry, Wrong Number (1999). His best known and most widely performed work, Lizzie Borden, was produced for television in 1967, became a signature piece of the New York City Opera, and was telecast again by PBS in 1999. Despite his teaching and administrative duties and his involvement with many New York arts organizations, Beeson maintained separate time and space for a very active life as a composer, including a two-year sojourn in Rome, from 1948 to 1950, funded by the Prix de Rome and a Fulbright scholarship, where he completed his first opera. His musical collaborators included librettists Kenward Elmslie and Sheldon Harnick.

At Columbia, Beeson served as chair of the Department of Music from 1968 to 1972, during which time he helped to establish doctorate programs in composition, theory, and ethnomusicology. He also worked to enlarge the University's commitment to the arts, convincing the Mellon Fund to commit $250,000 to expand offerings in film, writing, and theater. Notable students of Beeson's include Charles Wuorinen, John Kander, Phillip Ramey, Alice Shields, Joan Tower, Harvey Sollberger, Michael Rosenzweig, Bright Sheng, Mark Birnbaum, Richard Einhorn.

Beeson also participated in numerous organizations related to the promotion of American composers and American music, including board member and elected official positions at Composers Recordings, Inc., the American Music Center, Composers' Forum, American Composers Alliance, the American Society of Composers, Authors and Publishers (ASCAP), the American Academy of Arts and Letters, and the Alice M. Ditson Fund at Columbia. He also served on the Pulitzer Prize music committee. Beeson retired formally in 1988, but continued his involvement with Columbia as a member of the Society of Senior Scholars, in addition to continued informal teaching activities and participation with many organizations up until his death on June 6, 2010.

Due to COVID-19 restrictions, only CU affiliates may view materials on-site. YOU MUST REQUEST AN APPOINTMENT BEFORE PLACING REQUESTS. Email rbml@library.columbia.edu to request an appointment. You may submit a request for materials once your appointment is confirmed. Affiliates will login with their uni and password, and need to register the first time they make a request.


Series I: Composition diary, 1956-2009

Beeson logged all of his works (including dates and locations of composition and of performances of them) in this diary, referred to by Beeson as the "Latouche book." Beeson used his own system of numbering his works in this diary, referred to by him as "Latouche numbers" (a personal system of opus numbers not used by his publisher or in any of Beeson's published writing about his works). This system has been used to chronologically organize the records in this collection. Works prior to 1956 were recorded and backdated, and the total number of logged works at the time of Beeson's death was 136. The Latouche book can be used as a comprehensive guide to Beeson's composition activities.

The Latouche book is represented here by a facsimile reference copy. There is also a microfilm copy available for reference: MN#2010-7007. Please request access to the original book if required.



Box 1 Composition diary ("Latouche book"), 1956-2009

(Also available on microfilm MN#2010-7007.)



Box 25 Facsimile of Latouche book

(Copy was made from microfilm MN#2010-7007 use this copy for reference purposes)

Series II: Biographical Materials, 1939-2010

This series contains materials that include biographical information on or related to Beeson: yearbooks, awards, published interviews, obituaries, and programs for his memorial concert at Columbia University.



Box 2 Yearbook, 1939


Box 2 Yearbook, 1944


Box 2 Published interviews, 1979, 1994, 2002



Box 73 Recorded interview, 1999

("Live from Lincoln Center: Beverly Sills interview composer Jack Beeson and librettist Kenward Elmslie")


Box 73 Recorded interview, 2008

(from ASCAP Living Video Archive)



Box 2 Awards, 2009-2010


Box 2 Obituaries, 2010


Box 2 Memorial service pamphlets, 2010


Box 2 Letter (from Miranda Beeson to Alice M. Ditson Fund), 2010

Series III: Musical Works, 1933-2010

This series contains documents pertaining to original works composed by Beeson. The bulk of the series is comprised of sketches, drafts, holographs, and published scores, but the series also includes related research material, libretto drafts, notes, and correspondence. Almost all of Beeson's works logged in his composition diary are represented here, excepting a few early works; most include a draft with markings and a final-version holograph transparency in the composer's hand.

The series is arranged chronologically by work according to Beeson's "Latouche numbers" (his own system of opus numbers; see Series I). Within each work, materials are arranged in approximate chronological order. The series begins with fourteen spiral notebooks of early sketches and drafts composed while at Eastman, which include sketches and drafts of early Latouche-numbered works, as well as some early compositions not recorded in the Latouche book.


Spiral Notebooks, 1939-1945 (14 Items), 1939-1945



Box 3 Spiral Notebooks #1-#12, 1939-1945



Box 4 Spiral Notebooks #13-#14, 1944-1945


Two Marches for piano


Box 4 Autograph (in hand of Luella Weiner), 1933


Sketches for an opera based on Byron's 'Manfred'


Box 4 Sketch for libretto, 1939


Piano Sonata (first movement)


Box 4 Holograph, 1939

("Movement in Sonata Form")


Chorale for mixed chorus


Box 4 Holograph, 1939

("Reharmonization of bass of "Wach' Auf"-'Die Miestersinger'")


Gavotte and Musette for piano


Box 4 Holograph, 1940


Variations for piano


Box 4 Holograph, 1940

(See "Eastman notes and compositions" subject file for draft)


Two Miniatures for soprano and piano


Box 4 Holograph, 1940

(See "Eastman notes and compositions" subject file for draft)


A Fragment of the Passion according to St. Matthew


Box 4 Draft, 1941

(contains markings)


Sonata for Violin and Piano


Box 4 Holograph and facsimile, 1941


Box 4 Draft of violin part, 1941

(contains markings)


Sonata for Flute and Piano


Box 4 Holograph and facsimiles, 1942


First Sonata for Piano


Box 4 Holograph, 1942

("Sonata for Piano")


A Round for Christmas for four voices


Box 4 Sketch/draft, 1942

(contains markings)


Box 4 Holograph score and parts, 1951


Box 4 Published scores (2), 1960


Two Madrigals for Five Voices


Box 4 Draft, 1943

("Stars, I have seen them fall…" and "The Dust of Timas"; contains markings)


Box 4 Holograph and facsimile, 1943

("Madrigal")


Music for Two Earnest Instruments for organ and trombone


Box 4 Holograph, 1942

(bound withSecond Sonata for Pianoholograph facsimile)



Box 5 Holograph facsimile, 1942


Concerto Grosso for Piano and Orchestra



Box 4 Holograph and facsimile of full orchestral score, 1943


Box 4 Holograph and facsimiles of string instrument parts, 1943


Box 4 Holograph of instrument parts (except for strings), 1943


Madrigal for seven voices



Box 5 Draft, 1943

("We'll to the woods no more…"; contains markings)


Two Fragments from E.A. Robinson for female voices, strings, and timpani


Box 5 Holograph and facsimile, 1943


Second Sonata for Piano


Box 5 Holograph and facsimile, 1943


Concerto for Piano and Orchestra


Box 5 Holograph of full orchestral score, 1943-1944



Box 32 Facsimile of holograph of full orchestral score, 1943-1944



Box 5 Holograph and facsimiles of string instrument parts, 1944



Box 32 Holograph of instrument parts (except for strings), 1944


Box 32 Holograph of two-piano arrangement, 1944


Box 32 Facsimile of holograph of two-piano arrangement, 1944


"And Ruth Said…" for piano and high voice



Box 5 Holograph, 1944


Three Settings from the Gaelic for mixed chorus and orchestra


Box 5 Holograph and facsimile of full score, 1944


Box 5 Holograph and facsimiles (2) of piano-vocal score, 1944


Third Sonata for Piano



Box 6 Holograph, 1944


Two Diversions for piano


Box 6 Draft, 1953

(contains markings)


Box 6 Holograph and facsimile fragment, 1953


Box 6 Facsimile of published score, 1972


Clouds for low voice and piano


Box 6 Holograph and facsimile, 1944


Four Crazy Jane Songs for mezzo-soprano and piano


Box 6 Holograph and facsimile, 1944


Box 6 Draft, 1959

("Revision of The Crazy Jane Songs"; contains markings)


Box 6 Holograph and facsimile, 1959

("Three Love Songs")


Box 6 Holograph and facsimile, 1959

("Lullaby")


Box 6 Facsimile of holograph, 1959



Box 22 Facsimile with revisions, 1998

(SeeSongs and Arias for Mezzo-Soprano)


Fourth Sonata for Piano



Box 6 Holograph, 1945


Box 6 Facsimiles (2) of holograph with revisions, 1951

(contains markings)


Fourth Sonata for Piano revision


Box 6 Holograph, 1951


Box 6 Facsimile of holograph, 1951

(contains markings)


Box 6 Published score, 1984

("Fourth Piano Sonata"; contains markings)


Song for flute and piano


Box 6 Holograph, 1945


Box 6 Published score and parts (2), 1946

(one copy contains markings)


Box 6 Published score, 1972


The Wild Swans at Coole for soprano, flute, harp, and piano


Box 6 Holograph and facsimile, 1945


Three Songs for soprano and piano


Box 6 Holograph, 1945


Box 6 Facsimile of holograph with revisions, 1945 1951, 1945, 1951

(contains markings)

(contains markings)


Box 6 Holograph and facsimile with revisions, 1951 (contains markings), 1951



Box 22 Facsimiles with revisions, 1992-1997

(as "Three Blake Songs"; seeSongs and Arias for Tenor and Piano)


Five Songs for high voice and piano



Box 6 Typed text, 1946


Box 6 Holograph, 1946


Box 6 Facsimile of holograph with revisions, 1946 1950, 1946, 1950

(contains markings)


Five Songs revision


Box 6 Holograph, 1950


Box 6 Published scores (2), 1954

(contains markings)


Fifth Sonata for Piano


Box 6 Holograph, 1946


Fifth Sonata for Piano revision


Box 6 Draft, 1951

(contains markings)


Box 6 Facsimiles (2) of holograph, 1967

(contains markings)


Box 6 Proofs for publication with revisions, 1973

(contains markings)


Box 6 Published score, 1973

("Fifth Piano Sonata")


Five Sonatas for Piano



Box 32 Bound facsimile of holographs, 1942-1946

(contains undated markings)


Noah and His Sons chamber opera



Box 6 Sketch/draft of full orchestral score, 1946

(incomplete; contains markings)


Jonah opera



Box 7 Facsimile of typed libretto, 1947

(contains markings)


Box 7 Draft of full score, 1947-1950

(contains markings)


Box 7 Draft of condensed score, 1947-1950

(contains markings)


Interlude for violin and piano


Box 7 Draft, 1951

("Three Lyrical Ballads"; contains markings)


Box 7 Holograph of full score, 1951

(contains markings)


Box 7 Holograph and facsimile of violin part, 1951

(contains markings)


Eldorado for high voice and piano


Box 7 Draft, 1951

(contains markings)


Box 7 Holograph and facsimile, 1951

(facsimile contains markings)


Box 7 Facsimile of holograph with revisions, 1951 1980, 1951, 1980

(contains markings)


Box 7 Facsimiles (2) of printed score, 1980

(contains markings)


Box 7 Published score, 1982

((inAmerican Artsong Anthology)


The Hippopotamus for high voice and piano


Box 7 Draft, 1951

(contains markings)


Box 7 Facsimile of holograph, 1951


The Hippopotamus for voice and small orchestra


Box 7 Draft of full score, 1952

(contains markings)


Three Psalms from the Bay Psalm Book for mixed chorus



Box 8 Draft, 1951

(contains markings)


Box 8 Holograph, 1951


Box 8 Holograph fragments with sketch of piano accompaniment, 1951


Box 8 Holograph with piano accompaniment, 1951


Box 8 Facsimiles of holograph (no accompaniment), 1951

(contain markings)


Box 8 Facsimiles (2) of holograph of Psalm 23, undated

(contains markings)


Box 8 Published scores (5), 1969


Three Psalms for mixed chorus


Box 8 Draft, 1951

(contains markings)


Box 8 Holograph and facsimile, 1951 1984, 1951, 1984


Box 8 Facsimiles (5) of published score of Psalm 121, 1962


Piazza Piece for tenor, soprano, and piano


Box 8 Draft, 1951

(contains markings)


Box 8 Holograph, 1951 1988, 1951, 1988

(contains revisions)


Box 8 Facsimile of holograph, 1951


Box 8 Facsimiles (2) of holograph, 1988

(contains markings)


Piazza Piece for soprano and tenor with piano or chamber ensemble



Box 26 Draft of piano-vocal score, 2000

("2nd Rewrite of Piazza Piece"; contains markings)



Box 8 Holograph and facsimiles (3) of piano-vocal score, 2000 2001, 2000, 2001

("Piazza Piece, as the first part of a larger work: The Equilibrists"; contain markings)



Box 26 Facsimile of holograph of full score for chamber ensemble, 2000


Big Crash Out West for baritone and piano



Box 8 Draft, 1951

(contains markings)


Box 8 Holograph, 1951


Box 8 Published scores (2), 1989


Two Songs for baritone and piano


Box 8 Draft, 1952 (contains markings), 1952


Box 8 Holograph and facsimile, 1960

("Senex"; facsimile contains markings)


Box 8 Published scores (2) and facsimile, 1962

("Calvinistic Evensong")


Box 8 Published scores (2), 1962

("Senex")


Six Lyrics for high voice and piano


Box 8 Draft, 1952 ("Dream Pedlary"; contains markings), 1952


Box 8 Draft, 1952

(songs #2-#6; contains markings)


Box 8 Facsimiles (2) of holograph, 1952 1959, 1952, 1959

(contains markings)


Box 8 Facsimile of holograph, 1959

(contains markings)


Box 8 Holograph and facsimile, 1995


Sonata for Viola and Piano


Box 8 Draft, 1952

(contains markings)


Box 8 Holograph of score and parts, 1952-1953


Box 8 Published score and parts, 1973


The Elephant for high voice and orchestra



Box 9 Draft of piano reduction, 1953

(contains markings)


Box 9 Draft of full orchestral score, 1953

(contains markings)


Two Concert Arias for high voice and orchestra or piano

("The Hippopotamus" and "The Elephant")


Box 9 Holograph and facsimile of piano-vocal score, 1951 1953 1995 1997, 1951, 1953, 1995, 1997


Box 9 Holograph and facsimile of full orchestral score, 1953 1995 1997, 1953, 1995, 1997


Box 9 Holograph and facsimile of instrument parts, 1993 1995, 1993, 1995


Box 9 Bound facsimiles of holographs of Five Songs Six Lyrics Two Concert Arias Piazza Piece Big Crash Out West Two Songs, and Eldorado, undated


Hello Out There chamber opera


Box 9 Holograph of piano-vocal score, 1953


Box 9 Draft of full orchestral score, 1953

(contains markings)


Box 9 Published scores (2), 1960

(contains markings)


The Tides of Miranda for five voices and piano


Box 9 Draft, 1954

(contains markings)


Box 9 Holograph, 1954


Box 9 Published score, 1969

(contains markings)


The Sweet Bye and Bye chamber opera



Box 10 Libretto draft materials, 1954-1955

(bound; contains markings)


Box 10 Facsimile of typed libretto, 1955


Box 10 Typed synopsis, undated


Box 10 Draft of full score, 1956

(contains markings)


Box 10 Holograph and facsimile fragments, undated


Box 10 Facsimile of holograph of piano-vocal score, 1966


Box 10 Published libretto, 1966


Box 10 Published vocal score, 1966


"Mother Rainey's Aria: The Wages of Sin" and "Reprise: To the Seducer" from The Sweet Bye and Bye arranged for mezzo-soprano and piano



Box 22 Facsimile with revisions, 1998

(seeSongs and Arias for Mezzo-Soprano)


Love Song Arietta, and Aria for tenor and piano


Box 22 Facsimiles with revisions, 1992-2002

(seeSongs and Arias for Tenor and Piano)


Indiana Homecoming for baritone and piano



Box 11 Draft, 1956

(untitled; contains markings)


Box 11 Holograph and facsimile, 1956


Box 11 Published scores (2), 1973


The Bear Hunt for three male voices and piano


Box 11 Draft, 1956

(contains markings)


Box 11 Published score, 1960


Leda for reciting voice and piano


Box 11 Draft, 1957

(contains markings)


Box 11 Holograph and facsimile, 1957 1995, 1957, 1995

(contains markings)


Box 11 Facsimile of text, 1995

(contains markings)


Sketches in Black and White for piano


Box 11 Holograph and facsimile, 1958


Symphony No. 1 in A


Box 11 Draft of condensed score, 1959

(contains markings)


Draft of full score, 1959

(contains markings)


Box 11 Published scores (2), 1972


Round and Round for piano four hands


Box 11 Draft, 1959

(contains markings)


Box 11 Holograph and facsimile, 1959

(facsimile contains markings)


Box 11 Published score, 1970


Against Idleness and Mischief and In Praise of Labor for voice and piano


Box 11 Holograph and facsimile, 1959



Box 19 Published score, 1973

(seeNine Songs and Arias for Soprano and Piano)


Fire, Fire, Quench Desire for high voice and piano



Box 11 Draft, 1959

(contains markings)


Box 11 Holograph and facsimile, 1959



Box 19 Published score, 1973

(seeNine Songs and Arias for Soprano and Piano)


Evening Prayer for mixed voices a cappella



Box 11 Draft, 1959

(contains markings)


Box 11 Holograph, 1959


Box 11 Published score and facsimile, 1960

("Matthew, Mark, Luke and John")



Box 19 Published score, 1984

("Night Spell"; seeRounds and Rhymes)


Nursery Rhyme Rounds for mixed voices



Box 11 Sketch fragment, 1959

("Hickup Snicup")


Box 11 Holograph, 1959



Box 19 Holograph, 1980

("Swan Song" and "Hiccup, Snicup"; see "Merry-Go-Round")


Box 19 Published score, 1984

("Swan Song" and "Hiccup, Snicup"; seeRounds and Rhymes)


Transformations for large orchestra



Box 11 Draft of condensed score, 1959

(contains markings)


Box 11 Draft of full score, 1959

(contains markings)


Box 11 Published full score, 1972


Commemoration (Concert Overture for Band) with optional chorus


Box 11 Draft of condensed score, 1959-1960

(contains markings)


Box 11 List of instrument parts, 1960


Box 11 Facsimiles (2) of piano-vocal score holograph, 1960

("ad lib. Choral close to Commemoration")


Fanfare for brass, winds, and percussion


Box 11 Draft/sketch, 1963

(contains markings)


Box 11 Holograph and facsimile of full score, 1963 1995, 1963, 1995


Box 11 Holograph and facsimiles of instrument parts, 1963 1995, 1963, 1995


Lizzie Borden opera



Box 12 Three bound volumes of libretto materials, including drafts, correspondence, clippings, notes, etc.,, 1955-1959


Box 12 Libretto facsimile, undated


Box 12 Libretto facsimile with corrections, 1964



Box 13 Assorted sketch material, fragments, and notes, circa, 1960-1965

(contains markings)


Box 13 Notes, revisions, correspondence relating to libretto, circa, 1962-1968


Box 13 Draft of condensed score, 1965

(contains markings)


Box 13 Holograph of piano-vocal score, 1965


Box 13 Facsimile of piano-vocal score holograph for Act III Scene 2, 1965

(contains markings)



Box 33 Facsimile of piano-vocal score holograph, 1965

(contains markings)



Box 25 Facsimile of piano-vocal score holograph, 1965

(This was Brenda Lewis' copy, given to her when she created the title role in the 1965 world premiere. The score contains markings. Any references should credit "Courtesy of Brenda Lewis Cooper and Video Artists International.")



Box 13 Published libretti (2), 1966

(contains markings)


Box 13 Published piano-vocal score, circa, 1966-1967


Box 13 Published libretto, 1996


"Margret's Garden Aria" and "Abbie's Bird Song" from Lizzie Borden arranged for voice and piano



Box 14 Draft, 1967 (contains markings), 1967


Box 14 Published scores (2), 1968)

("Margret's Garden Aria")


Box 14 Published scores (2), 1968

("Abbie's Bird Song")



Box 19 Published score, 1973

(seeNine Songs and Arias for Soprano and Piano)


"Killing Time" from Lizzie Borden arranged for mezzo-soprano and piano



Box 22 Facsimile with revisions, 1998

(seeSongs and Arias for Mezzo-Soprano and Piano)


Two Choral Rounds for four voices a cappella



Box 14 Draft, 1965

(contains markings)


Greener Pastures for four voices a cappella


Box 14 Holograph, 1965


Box 14 Published scores (2), 1968


Boys and Girls Together for four voices a cappella


Box 14 Published score, 1968


Sonata Canonica for two alto recorders


Box 14 Draft, 1966

(contains markings)


Box 14 Holograph and facsimile, 1966


Box 14 Published scores (2), 1967


Homer's Woe for high voices


Box 14 Draft, 1966

(contains markings)


Box 14 Holograph and facsimile, 1966


Box 14 Publishing proofs, 1967


Box 14 Published score, 1967


Two Pieces for chamber ensemble


Box 14 Draft of full score, 1967

(contains markings)


Box 14 Facsimile of "one-line sketch,", 1967

("The Hoosier Balks" and "The Hawkesley Blues")


Box 14 Facsimile of holograph of full score, 1967


My Heart's in the Highlands chamber opera


Box 14 Assorted composition notes and resource materials, circa, 1966


Box 14 Libretto draft, circa, 1966


Box 14 Libretto "master" and copies (2), circa, 1966


Box 14 Typed libretto, undated

(signed)



Box 15 Libretto copy, 1969

(contains markings)


Box 15 Draft of condensed score, 1966-1967

(contains markings)


Box 15 Holograph of piano-vocal score, 1969


Box 15 Facsimile of holograph of piano-vocal score, 1969

(contains markings)



Box 33 Facsimiles (2) of holograph of piano-vocal score, 1969

(one copy contains markings)


"Alternative Ending for PVSC"

(fromMy Heart's in the Highlands)



Box 15 Draft, 1969


Box 15 Facsimile of Holograph, undated


"Credits Prelude"

(fromMy Heart's in the Highlands)


Box 15 Draft, 1969

(contains markings)


Box 15 Facsimile of holograph, 1969


"Saint Peters Kirche or Peter's Kirk"

(fromMy Heart's in the Highlands)


Box 15 Draft, 1969

(contains markings)


Box 15 Holograph, 1969


Occasional Small Pieces for mixed voices


Box 15 Draft, 1969

(contains markings)


To a Lady Who Asked for a Cypher for mixed voices a cappella


Box 15 Holograph and facsimile, 1969 1970, 1969, 1970

(facsimile contains markings)


Box 15 Publishing proofs, 1970


Box 15 Published score, 1970


In Praise of the Bloomers for male voices a cappella


Box 15 Holograph and facsimile, 1969


Box 15 Published score, 1970


A Creole Mystery for mezzo-soprano or baritone and string quartet


Box 15 Facsimiles (3) of short story to be adapted as text, 1970

(contain markings)


Box 15 Typed text, 1970


Box 15 Draft of full score, 1970

(contains markings)


Box 15 Holograph and facsimile of piano-vocal score, 1970


Box 15 Published piano-vocal score, 1979


Everyman's Handyman for male voices a cappella



Box 16 Sketches and drafts, 1970

(contain markings)


Box 16 Holograph and facsimile, 1970


Box 16 Published score, 1972


The Model Housekeeper for female voices


Box 16 Sketches and drafts, 1970

(contains markings)


Box 16 Holograph and facsimile, 1970


Box 16 Published scores (2), 1972

(inscribed)


To a Sinister Potato for baritone and piano


Box 16 Draft, 1970


Box 16 Holograph and facsimile, 1970


Box 16 Published scores (2), 1973


The You Should of Done It Blues for soprano and piano


Box 16 Draft, 1971


Box 16 Holograph, 1971



Box 19 Published score, 1973

(seeNine Songs and Arias for Soprano and Piano)


Death by Owl-Eyes for high voice and piano



Box 16 Draft, 1971

(contains markings)


Box 16 Holograph, 1971


Box 16 Published score, 1973



Box 19 Published score, 1973

(see Nine Songs and Arias for Soprano and Piano)


The Day's No Rounder than Its Angles Are for middle voice and string quartet



Box 16 Copies of text (2), 1971

(contains markings)


Box 16 Draft of full score, 1971

(contains markings)


Box 16 Holograph of piano-vocal score, 1971


Box 16 Published piano-vocal score, 1979


Old Hundredth Prelude and Doxology for organ


Box 16 Newspaper clipping, 1972


Box 16 Draft, 1972

(contains markings)


Box 16 Holograph and facsimile, 1972 1973, 1972, 1973

(facsimile contains markings)


Box 16 Published score, 1976


Captain Jinks of the Horse Marines opera


Box 16 "Notes and Ideas,", 1972


Box 16 Copy of original play by Clyde Fitch with annotations for adaptation,, 1972

(contains markings)


Box 16 Assorted libretto materials (sketches, memoranda, drafts), circa, 1972-1976

(contains markings)


Box 16 Facsimile of libretto, 1972



Box 17 Composition sketches, undated


Box 17 Draft of condensed score, 1972-1974

(contains markings)



Box 34 Facsimiles of holograph of vocal score, 1974-1975

(Act III only; Acts II and III; assorted fragments)



Box 17 Fragments of facsimile of holograph of vocal score, 1974-1975


Box 17 Facsimile of holograph of vocal score, 1974-1975

(contains markings)


Box 17 Facsimile of libretto, 1975


Box 17 Facsimile of libretto, 1976

(contains markings)



Box 18 Notebook of notes and corrections, circa, 1975-1976


Box 18 Published libretti (4), 1976


Box 18 Published libretto, 1976


Box 18 Published condensed vocal score, 1983


"To Violetta Valery" from Captain Jinks of the Horse Marines, arranged for soprano and piano



Box 19 Published score, 1973

(seeNine Songs and Arias for Soprano and Piano)


"Two Cavatinas" from Captain Jinks of the Horse Marines, arranged for tenor and piano



Box 22 Facsimile with revisions, circa, 1992-2002

(seeSongs and Arias for Tenor and Piano)


"Aria in Praise of Sopranos" from Captain Jinks of the Horse Marines, arranged for tenor and piano


Box 22 Facsimile with revisions, circa, 1992-2002

(seeSongs and Arias for Tenor and Piano)


From a Watchtower for soprano and piano



Box 18 Draft, 1976

(contains markings)


Box 18 Holograph, 1976


Box 18 Facsimiles (2) of holograph, 1976 1991 1992, 1976, 1991, 1992

(contains markings)


Box 18 Copies of text (2), circa, 1992

(contains markings)


Dr. Heidegger's Fountain of Youth chamber opera


Box 18 Drafts of libretto and synopsis, circa, 1976-1978

(contains markings)


Box 18 Composition sketches and notes, undated, 1976


Box 18 Draft of condensed score, 1977

("Dr. Heidegger's Experiment"; contains markings)


Box 18 Fragment of holograph facsimile, 1977


Box 18 Notebook with notes and corrections, circa, 1977-1979



Box 34 Facsimile of piano-vocal score holograph, 1978

(contains markings)


Box 34 Facsimile of piano-vocal score holograph, 1978 1992 1995, 1978, 1992, 1995

(contains markings)



Box 18 Published piano-vocal score, 1998

(contains markings)


"The Widow's Waltz" from Dr. Heidegger's Fountain of Youth, arranged for soprano and piano



Box 19 Published score, 1973

(seeNine Songs and Arias for Soprano and Piano)


"Prescription for Living" from Dr. Heidegger's Fountain of Youth, arranged for bass-baritone and piano


Box 19 Facsimiles (2) of holograph, 1990

(contains markings)


"The Spinster's Anguish" from Dr. Heidegger's Fountain of Youth, arranged for mezzo-soprano and piano



Box 22 Facsimile with revisions, 1998 (seeSongs and Arias for Mezzo-Soprano ), 1998


CAT! for high or middle voice and piano



Box 19 Draft, 1952

(contains markings)


Box 19 Published score, 1973

(seeNine Songs and Arias for Soprano and Piano)


Box 19 Holograph and facsimile, 1979


Nine Songs and Arias for Soprano and Piano


Box 19 Published score, 1973


Knots for mixed voices a cappella


Box 19 Draft, 1979

(contains markings)


Box 19 Holograph and facsimile, 1979 1992, 1979, 1992

(contains markings)


Cowboy Song for baritone and piano


Box 19 Draft, 1979

(contains markings)


Box 19 Holograph, 1979


Box 19 Published scores (2), 1989


Hinx, Minx for four mixed voices a cappella


Box 19 Draft, 1980

(contains markings)


Merry-Go-Round for mixed voices


Box 19 Holograph and facsimile, 1980


Rounds and Rhymes for mixed voices


Box 19 Published score, 1984


Cyrano opera


Box 19 Bound book of notes and corrections, 1984-1999


Box 19 Libretto, undated, 1988

(contains markings)



Box 26 Draft of full score, 1980-1986

(contains markings)



Box 19 Holograph of piano-vocal score, 1986



Box 29-30 Holograph of full score, 1987 1993 1994 1999, 1987, 1993, 1994, 1999



Box 20 Printed individual instrument parts, 1989)

(Act II only; contain markings)


Box 20 Printed individual instrument parts, 1989

(Act III only; contain markings)


"An Introspection" from Cyrano, arranged for tenor and piano



Box 21 Facsimile of piano-vocal holograph, 1994

(contains markings)


Magicke Pieces for mixed chorus, bass-baritone, and three winds


Box 21 Texts, 1990

(contains markings)



Box 27 Draft, 1991

(contains markings)



Box 34 Full score facsimiles (2), 1991

(one contains markings)



Box 21 Text and sketch, 1991


Box 21 Holograph, 1991 1992, 1991, 1992


Box 21 Facsimile of holograph, 1991 1992 1994, 1991, 1992, 1994

(contains markings)


Box 21 Publishing proofs, 1995

(contains markings)


A Tale Told by Mary's Lamb for tenor and piano



Box 28 Draft, 1991

(contains markings)



Box 21 Holograph and facsimile, 1991 1994, 1991, 1994



Box 22 Facsimile with revisions, circa, 1999-2002

(seeSongs and Arias for Tenor and Piano)


In the Public Gardens for tenor and piano



Box 21 Draft, 1991

(contains markings)


Box 21 Holograph and facsimile, 1991



Box 22 Facsimile with revisions, circa, 1999-2002

(seeSongs and Arias for Tenor and Piano)


Hide and Seek for tenor and piano



Box 21 Draft, 1991

(contains markings)


Box 21 Holograph and facsimile, 1991 1994, 1991, 1994



Box 22 Facsimile with revisions, circa, 1999-2002

(seeSongs and Arias for Tenor and Piano)


Mary Magdalene's Song for mezzo-soprano and piano



Box 21 Assorted source materials, circa, 1991-1993


Box 21 Draft, 1991

(contains markings)


Box 21 Holograph and facsimile, 1991 1993, 1991, 1993

(holograph contains markings)



Box 22 Facsimile with revisions, 1998

(seeSongs and Arias for Mezzo-Soprano and Piano)


Fantasy, Ditty, and Fughettas for two baroque (or modern) flutes



Box 21 Draft, 1992 (contains markings), 1992


Box 21 Facsimiles (2) of holograph, 1992

(one is accompanied by correspondence)


Box 21 Published scores (2), 1998


Two Millay Sonnets for mezzo-soprano and piano


Box 21 Draft, 1992

(contains markings)


Box 21 Holograph, 1992

(contains markings)


Box 21 Facsimile of holograph, 1992

("What lips my lips have kissed…")


Box 21 Facsimile of holograph, 1992 1993 1998, 1992, 1993, 1998

(contains markings)



Box 22 Facsimile with revisions, 1998

(seeSongs and Arias for Mezzo-Soprano and Piano)


Epitaphs for mixed voices a cappella



Box 21 Drafts of song texts with notes, corrections, and correspondence, 1993 1999 2004-2005, 1993, 1999, 2004-2005

(contains markings)



Box 27 Draft, 1993

(contains markings)



Box 21 Holograph and facsimile, accompanied by song text, 1993 2003, 1993, 2003


Box 21 Published scores (7), 1998

(all contain markings)


Sorry, Wrong Number chamber opera



Box 22 Facsimile of original play with notes for adaptation, 1995

(contains markings)



Box 27 Draft of condensed score, 1995

(contains markings)



Box 22 Notebook of notes and corrections, 1996-2002


Box 22 Typed libretto and facsimiles (3), 1996 1999, 1996, 1999

(some contain markings)


Box 22 Holograph of vocal score, 1996 1999, 1996, 1999



Box 35 Facsimile of holograph of vocal score, 1996


Box 35 Facsimile of holograph of vocal score, 1996 1999 2007, 1996, 1999, 2007



Box 31 Holograph of full score, 1996 1999, 1996, 1999



Box 22 Printed individual instrument parts, 1997 1999, 1997, 1999

(contains markings)


Pull My Daisy for soprano or tenor and piano


Box 22 Draft, 1997 (contains markings), 1997


Box 22 Facsimiles (4) of holograph, undated


Box 22 Facsimile with revisions, circa, 1999-2002

(seeSongs and Arias for Tenor and Piano)


Songs and Arias for Mezzo-Soprano and Piano


Box 22 Revised texts, holographs and proofs, and related correspondence, circa, 1998

(contains markings)


Songs and Arias for Tenor and Piano


Box 22 Revised texts, holographs and proofs, and related correspondence, circa, 1992-2002

(contains markings)


Interludes and Arias from 'Cyrano' for baritone and orchestra



Box 23 Holograph of piano-vocal score, 1986


Box 23 Facsimiles (2) of piano-vocal score, 1986 1997, 1986, 1997



Box 31 Holograph of full score, 1999



Box 23 Notes and corrections, circa, 1999


Practice in the Art of Elocution for soprano and piano

(includes "Four Forbidden Songs")


Box 23 Text drafts, pre-composition notes, correspondence, etc., circa, 1997-2002



Box 27 Draft/sketch, 1997-1998



Box 23 Holograph, 1998 2002, 1998, 2002


Box 23 List of "difficult sentences", list of corrections, and related correspondence,, 1998


Box 23 Facsimiles (2) of holograph, 1998

("Four Forbidden Songs" pages only; one copy contains 2001 revisions)


The Daring Young Man on the Flying Trapeze for countertenor and chamber ensemble (or piano)


Box 23 Pre-composition notes, research, clippings, correspondence, text drafts, circa, 1998


Box 23 Sketch, 1998

(contains markings)



Box 27 Draft of condensed score, 1998

(contains markings)



Box 23 Holograph of full score and facsimile, 1999 2008, 1999, 2008


Box 23 Holograph of piano-vocal score and facsimile, 1999 2008, 1999, 2008


Box 23 Fragments of holograph facsimile with revisions, 2008


Box 23 Printed instrument parts, circa, 2000

(contains markings)


Box 23 Publishing proofs of instrument parts, 2008


Ophelia Sings for mezzo-soprano and chamber ensemble


Box 23 Text drafts, pre-composition notes, correspondence, etc., circa, 1999-2000



Box 27 Draft, 1999

(contains markings)



Box 23 Holograph of piano-vocal score and facsimile, 2000



Box 35 Facsimile of holograph of full score, 2000


The Equilibrists for soprano, tenor, and chamber ensemble



Box 24 Text with markings and notes, circa, 2001


Box 24 Facsimile of piano-vocal score holograph, 2001


Box 24 Full score holograph, 2001


Box 24 Facsimile of full score holograph, 2001 2009, 2001, 2009

(contains markings)


Box 24 Notes and correspondence, circa, 2001-2009


Box 24 Printed instrument and vocal parts, 2009


In Praise of Singing for mixed voices a cappella


Box 24 Text drafts with notes, 2001



Box 27 Draft, 2001

(contains markings)



Box 24 Holograph and facsimile, 2001 2002, 2001, 2002

(facsimile contains markings)


Box 24 Typed text, notes, and correspondence, 2002


Box 24 Published score, 2002


A Wagner Lover for baritone and piano



Box 27 Draft, 2001

(contains markings)


Spooning with Chowder for bass-baritone and piano


Box 27 Draft, 2001

("A Long Song, with Clams"; contains markings)


Waikiki for bass-baritone and piano



Box 24 Sketch, 2001

("Sketch for something")



Box 27 Draft and facsimile, 2002

(contains markings)


Scherzo Cannibalistique for bass-baritone and piano


Box 27 Draft, 2002

(contains markings)


A Rupert Brooke Cycle for bass-baritone and piano



Box 24 Texts, pre-composition research and notes, corrections, circa, 2001-2004

(contains markings)


Box 24 Holograph, 2001-2004



Box 35 Facsimile of holograph, 2001-2004

(contains markings)



Box 24 Facsimile of holograph divided into individual songs, 2001-2004

(contains markings)


Summer Rounds and Canons for mixed chorus and solo voices a cappella



Box 25 Texts, pre-composition notes, corrections, correspondence, circa, 2002-2003



Box 27 Draft, 2002

(contains markings)


Box 27 Holograph, 2002-2003



Box 35 Facsimile of holograph, 2002-2003

(contains markings)


A Too-Late Love Song for bass voice and piano



Box 27 Sketch and draft, 2002

(contains markings)


A Farewell: 'Vale' from Carthage for bass voice and piano


Box 27 Draft, 2003

(contains markings)


If Blossoms Could Blossom… for bass voice and piano


Box 27 Draft, 2003

(contains markings)


Three Viereck Songs for bass voice and piano



Box 25 Pre-composition notes, correspondence, drafts of texts, etc., circa, 2002-2003


Box 25 Holograph, 2003



Box 36 Facsimiles of holograph (complete score and individual songs), 2003


Gallows Songs (Four Gallows Songs) for mixed voices a cappella



Box 27 Draft of "The Sigh,", 2007

(contains markings)


Box 27 Draft of "On the Housefly Planet,", 2007

(contains markings)


Box 27 Draft of "The Lonely Knee,", 2007

(contains markings)


Box 27 Draft of "The Picket Fence,", 2007

(contains markings)


Box 27 Holograph of score with piano accompaniment, 2007

(("Four Gallows Songs")



Box 36 Facsimile of holograph, 2007



Box 25 Post-composition notes, corrections, and correspondence, circa, 2007-2008


A Fugue in Flight for piano



Box 27 Sketch-draft, 2009

(contains markings)



Box 25 Holograph, 2009



Box 36 Facsimile of holograph, 2009



Box 25 Publishing proofs and correspondence, 2009

(contains markings)


Kilroy Was Here for baritone and piano


Box 25 Pre-composition notes, texts, clippings, and correspondence, circa, 2010



Box 27 Sketch and draft, 2010

(contains markings)



Box 25 Holograph, 2010



Box 36 Facsimiles (2) of holograph, 2010

Series IV: Written Works, circa 1962-2006

This series contains drafts and published copies of written works by Beeson, divided into two subseries. The bulk of the first subseries is a handwritten first draft of Beeson's autobiography, How Operas Are Created by Composers and Librettists: The Life of Jack Beeson, American Opera Composer, which Beeson termed "The Book." The second subseries includes typescript drafts of "The Autobiography of Lizzie Borden" (later published as an article in Opera Quarterly and as a chapter of The Book), and two issues of the journal Current Musicology with articles by Beeson.


Subseries IV.1: "The Book", circa 2004-2006

Handwritten first draft of Beeson's autobiography; also a typescript copy of the first draft.


How Operas Are Created by Composers and Librettists: The Life of Jack Beeson, American Opera Composer ("The Book")



Box 37 Handwritten draft in 14 notebooks, circa 2004-2006


Box 37 Typed draft of first chapter, 2006


Subseries IV.2: Articles, circa 1962-2005

Two typescript copies of "The Autobiography of Lizzie Borden"; two issues ofCurrent Musicologywith articles by Beeson.


"The Autobiography of Lizzie Borden," published in Opera Quarterly 4(1), 1986


Box 37 Typed draft, 1962 (contains markings), 1962


"Opera at Columbia University, 1941-1958" published in Current Musicology 70


Box 37 Published journal, 2000


"Recollections," published in Current Musicology, 79/80


Box 37 Published journal, 2005

Series V: Scrapbooks, 1929-2010

This series contains scrapbooks created by Beeson, where he collected materials pertaining to his life and his works. The scrapbooks include news clippings, correspondence, programs and pamphlets, research materials, notes, and photographs. The series is divided into three subseries: scrapbooks pertaining to Beeson's musical works, to Beeson's autobiography ("The Book"), and to Beeson's life and hobbies (the "JB" scrapbooks).


Subseries V.1: Musical Works Scrapbooks, 1954-2009

Beeson created one or more scrapbooks for several of his major works:Hello Out There,The Sweet Bye and Bye,Lizzie Borden,My Heart's in the Highlands,Captain Jinks of the Horse Marines,Dr. Heidegger's Fountain of Youth,Cyrano,Sorry, Wrong Number, andFour Forbidden Songs. There is also a scrapbook for an abandoned opera concept,Burr vs. Burr. The majority of the materials in these scrapbooks is comprised of research materials, correspondence, programs, publicity materials, and reviews pertaining to each of the works. Materials pertaining toLizzie Borden, Beeson's most frequently performed work, occupy seven scrapbooks.



Box 38 Hello Out There scrapbook, 1954-2000


Box 38 The Sweet Bye and Bye scrapbook, 1957-1999


Box 38 Lizzie Borden I scrapbook, 1965-1967


Box 38 Lizzie Borden II scrapbook, 1967-1976



Box 39 Lizzie Borden III scrapbook, 1976-1992


Box 39 Lizzie Borden IV scrapbook, 1992-1996


Box 39 Lizzie Borden V scrapbook, 1996-1999


Box 39 Lizzie Borden VI scrapbook, 1999-2000


Box 39 Lizzie Borden VII scrapbook, 2000-2008



Box 40 My Heart's in the Highlands I scrapbook,, 1969-1970


Box 40 My Heart's in the Highlands II scrapbook,, 1970-2008


Box 40 My Heart's in the Highlands III scrapbook,, 1988


Box 40 Captain Jinks of the Horse Marines I scrapbook,, 1975


Box 40 Captain Jinks of the Horse Marines II scrapbook,, 1976-2009



Box 41 Burr vs. Burr scrapbook, circa 1976-1986 (compiled 2009), 1976-1986


Box 41 Dr. Heidegger's Fountain of Youth scrapbook,, 1977-2004


Box 41 Cyrano de Bergerac (play) scrapbook, 1980-2008


Box 41 Cyrano scrapbook, 1993-2007


Box 41 Sorry, Wrong Number scrapbook, 1996-2008


Box 41 Four Forbidden Songs scrapbook, 1998-2008


Subseries V.2: "The Book" Scrapbook, 2008-2010

Beeson kept one scrapbook with materials pertaining to the publication and distribution of his autobiography. This scrapbook includes reviews and publicity, as well as materials related to the book's publisher, Edwin Mellon Press.



Box 42 The Book scrapbook, circa, 2008-2010


Subseries V.3: Personal ("JB") Scrapbooks, 1929-2010

Beeson created the "JB" scrapbooks to collect materials related to his life, activities, general interests, and his friends and colleagues. These scrapbooks contain correspondence, programs, photos, news clippings, and published articles about Beeson and about other topics. The "JB" scrapbooks also document performances and reviews of works by Beeson that do not have an individual work scrapbook in Series V.1.

The first "JB" scrapbook, which contains materials from 1929-1965, was compiled by Beeson in 1995.


Box 42 JB to '65 scrapbook, 1929-1965 (Compiled in 1995), 1929-1965


Box 42 JB I scrapbook, 1965-1976


Box 42 JB II scrapbook, 1976-1984



Box 43 JB III scrapbook, 1984-1991


Box 43 JB IV scrapbook, 1991-1996


Box 43 JB V scrapbook, 1996-2000


Box 43 JB VI scrapbook, 2000-2002



Box 44 JB VII scrapbook, 2002-2006


Box 44 JB VIII scrapbook, 2007-2008


Box 44 JB IX scrapbook, 2009-2010

Series VI: Correspondence, circa 1943-2006

This series contains the bulk of Beeson's correspondence. It is divided into two subseries: the first, containing correspondence with individuals whom Beeson deemed "VIP," is arranged chronologically by item; the second, containing miscellaneous correspondence, is arranged chronologically by 6-month or 12-month (academic year) periods.

This series contains mainly Beeson's miscellaneous personal correspondence, as well as some correspondence relating to Columbia University Department of Music activities. Much of Beeson's correspondence relating to his capacity as professor, chairman, board member, and elected official at Columbia University and numerous arts organizations within and outside of the university is contained in the Subject Files (Series VII), labeled by department or organization. Frequent correspondence with some key individuals, such as Otto Luening, Douglas Moore, John Updike, and several of Beeson's collaborators and colleagues, are also found in the Subject Files (Series VII), under the surname of the correspondent. Some correspondence relating to the composition and performance of Beeson's works is contained in the Musical Works series (Series III), and in Beeson's scrapbooks (Series V).


Subseries VI.1: "VIP" Correspondence, circa 1944-1981



Box 45 Ernest Bloch to Jack Beeson, 1944

This subseries contains select correspondence with individuals who Beeson deemed historically significant, or "VIP," including Ernest Bloch, Aaron Copland, Virgil Thomson, Samuel Barber, Stephen Sondheim, Tom Stoppard, Otto Luening, and others. These letters are described at the item level and arranged chronologically.


Box 45 Aaron Copland to Jack Beeson, 1945


Box 45 Virgil Thomson to Jack Beeson, 1949


Box 45 Samuel Barber to Jack Beeson, 1950


Box 45 Margaret Stone Zilboorg (Mrs. Gregory Zilboorg) to Nora Beeson, 1951


Box 45 Ernest Bloch to Douglas Moore, 1955


Box 45 Samuel Barber to Jack Beeson, 1956


Box 45 Virgil Thomson to Jack Beeson, 1966


Box 45 Aaron Copland (National Institute of Arts and Letters) to Jack Beeson, 1968


Box 45 Jack Beeson to Aaron Copland (National Institute of Arts and Letters), 1968

(handwritten draft)


Box 45 Elie Siegmeister to Jack Beeson, 1969


Box 45 Virgil Thomson to Jack Beeson, 1969


Box 45 Aaron Copland to Jack Beeson, 1971

(facsimile)


Box 45 Stephen Sondheim to Jack Beeson, 1973


Box 45 Jack Beeson to Tom Stoppard, 1974

(typed draft)


Box 45 Tom Stoppard to Jack Beeson, 1974


Box 45 Jack Beeson to Otto Luening, 1974

(facsimile)


Box 45 Richard Rodgers to Jack Beeson, 1976


Box 45 Jack Beeson to Richard Rodgers, 1976


Box 45 Eugene Ormandy (Philadelphia Orchestra Association) to Jack Beeson, 1977


Box 45 David Diamond to Jack Beeson, 1977


Box 45 Jack Beeson to David Diamond, 1977


Box 45 Memoranda (2) to CU Department of Music staff from Jack Beeson, concerning Virgil Thomson papers, 1977 1978, 1977, 1978


Box 45 Virgil Thomson to Jack Beeson, 1978


Box 45 Jack Beeson to Virgil Thomson, 1978 (draft), 1978


Box 45 Virgil Thomson to Jack Beeson, 1978


Box 45 Jack Beeson to Bill N. Lacy (American Academy in Rome), 1979 (not sent), 1979


Box 45 Jack Beeson to Virgil Thomson, 1979-1981

(contains correspondence with Columbia University Dean and Rare Books and Manuscripts Librarian)


Box 45 Edward Burlingame Hill to Jack Beeson, undated


Box 45 Edward Burlingame Hill to Douglas Moore, undated


Box 45 Virgil Thomson to Jack Beeson, undated


Subseries VI.2: Miscellaneous Correspondence, circa 1943-2006

This subseries contains Beeson's miscellaneous correspondence, arranged chronologically, generally by 6-month or 12-month (academic year) period. Beeson's correspondence while in Rome is separated, as is some correspondence that pertains to the Columbia University Department of Music.


Box 45 1940s and early 1950s circa 1943-1956, 1940s, 1950s, 1943-1956


Box 45 U.S. to Rome, 1948-1950


Box 45 U.S. to Rome, 1958-1959


Box 45 General correspondence, 1959-1960


Box 45 General correspondence, 1960-1961


Box 45 General correspondence, 1961-1962


Box 45 General correspondence, 1962-1963


Box 45 General correspondence, 1963-1964


Box 45 General correspondence, Summer, 1964


Box 45 General correspondence, 1964-1965


Box 45 Columbia University correspondence Rome, 1965-1966


Box 45 General correspondence Rome/NY, 1965-1966


Box 45 General correspondence, 1966-1967



Box 46 General correspondence, 1967-1969


Box 46 General correspondence, 1968-1970


Box 46 General correspondence, 1969-1970


Box 46 General correspondence, Summer, 1970


Box 46 General correspondence, 1970-1971


Box 46 General correspondence, 1971-1972


Box 46 Departmental correspondence, 1970-1972


Box 46 General correspondence, 1972-1973


Box 46 Departmental ("post-Chairman") correspondence, 1972-1976



Box 47 General correspondence, 1973-1974


Box 47 General correspondence, 1974-1975


Box 47 General correspondence, 1976-1977


Box 47 Departmental correspondence, 1976-1980


Box 47 General correspondence, 1977-1978



Box 48 General correspondence, 1978-1979


Box 48 General correspondence, 1979-1980


Box 48 Departmental correspondence, 1980-1985


Box 48 General correspondence, 1980-1981


Box 48 General correspondence, 1981-1982



Box 49 General correspondence, 1982-1983


Box 49 General correspondence, 1983-1984


Box 49 General correspondence, 1984-1985


Box 49 General correspondence, 1985-1986


Box 49 Departmental correspondence, 1985-1989



Box 50 General correspondence, 1986-1987


Box 50 General correspondence, 1987-1988


Box 50 General correspondence, 1988 July -December, 1988


Box 50 General correspondence, 1989 January -June, 1989



Box 51 General correspondence, 1989 July -December, 1989


Box 51 General correspondence, 1990 January -June, 1990


Box 51 General correspondence, 1990 July -December, 1990


Box 51 General correspondence, 1991 January -June, 1991


Box 51 General correspondence, 1991 July -December, 1991


Box 51 General correspondence, 1992 January -June, 1992


Box 51 General correspondence, 1992 July -December, 1992



Box 52 General correspondence, 1993 January -June, 1993


Box 52 General correspondence, 1993 July -December, 1993


Box 52 General correspondence, 1994 January -June, 1994


Box 52 General correspondence, 1994 July -December, 1994


Box 52 General correspondence, 1995 January -June, 1995


Box 52 General correspondence, 1995 July -December, 1995


Box 52 General correspondence, 1996 January -June, 1996



Box 53 General correspondence, 1996 July -December, 1996


Box 53 General correspondence, 1997 January -June, 1997


Box 53 General correspondence, 1997 July -December, 1997


Box 53 General correspondence, 1998 January -June, 1998


Box 53 General correspondence, 1998 July -December, 1998


Box 53 General correspondence, 1999 January -June, 1999


Box 53 General correspondence, 1999 July -December, 1999


Box 53 General correspondence, 2000 January -June, 2000


Box 53 General correspondence, 2000 July -December, 2000



Box 54 General correspondence, 2001 January -June, 2001


Box 54 General correspondence, 2001 July -December, 2001


Box 54 General correspondence, 2002


Box 54 General correspondence, 2003


Box 54 General correspondence, 2004


Box 54 General correspondence, 2005


Box 54 General correspondence, 2006

Series VII: Subject Files, circa 1933-2010

This series contains papers related to Beeson's roles as a professor, administrator, and composer. It is divided into two subseries, loosely titled "professional" and "personal." The "professional" subseries relates to Beeson's activities at Columbia University, while the "personal" subseries includes documents pertaining to music- and arts-related activities outside of his professional appointments, and also includes research for composition projects, and correspondence with figures in the arts.


Subseries VII.1: Professional Subject Files, 1945-2007

This subseries includes subject files related to Beeson's activities at the Columbia University Music Department, the Columbia University School of the Arts, and to other functions at Columbia University such as committees, clubs, prizes, and funds. It is organized alphabetically.



Box 55 Columbia University/Post Retirement, 1988-1990


Box 55 Arts Center Reports, 1959-1961


Box 55 Columbia Appointments and Offers, 1945-1984


Box 55 Committees: Ad Hoc, 1960-1980


Box 55 Committees: Arts (Mellon), 1975


Box 55 Committees: Arts, 1964-1965


Box 55 Committees: Arts, 1973-1974


Box 55 Committees: Arts (Priorities Conference), 1974


Box 55 Committees: Arts, 1974-1975


Box 55 Committees: Arts (Spectator), 1974-1975


Box 55 Committees: Arts (FebruaryReport), 1975


Box 55 Committees: Arts, 1977-1979


Box 55 Composition Department, 1977-1979


Box 55 School of the Arts, 1964-1971


Box 55 School of the Arts, 1966-1972


Box 55 School of the Arts, 1959-1977


Box 55 School of the Arts, 1976-1977


Box 55 School of the Arts, 1977-1978


Box 55 School of the Arts, 1980-1982


Box 55 School of the Arts, 1984-1987


Box 55 Practice Rooms, 1962-1964


Box 55 Brahms organ fugue manuscript, 1972-2007


Box 55 Cary Trust, 1968-1984



Box 56 Columbia College Music Department reports, 1963-1968


Box 56 Columbia College admissions and applicants, 1961-1985


Box 56 Columbia Music Department budgets, 1971-1972


Box 56 Columbia commencement, 1986


Box 56 Columbia centennial, 1995-1996


Box 56 Columbia College Committee on Humanities, 1962-1963


Box 56 Columbia Music Department: Electronic Music Center, 1977-1979


Box 56 Columbia Music Department: Executive Committee, 1973-1977


Box 56 Columbia Music Department: Bearns Prize, 1991


Box 56 Columbia Music Department: Frankel Committee, 1969


Box 56 Columbia Music Department: Fundraising, 1976-1979


Box 56 Columbia Music Department: Fundraising, 1986


Box 56 Columbia Music Department: Glee Club, 1960-1964


Box 56 Columbia Music Department: Grades (Miscellaneous Matters Concerning), 1956-1984


Box 56 Columbia Music Department: Library (and Gifts to), 1961-1980


Box 56 Columbia Music Department: President's/Provosts' Committee, 1967-1984


Box 56 Columbia Music Department: President and Presidential Committees, 1970-1977


Box 56 Composers Forum, 1985-1994


Box 56 Copyright Infringement (2 cases, unpaid), 1975


Box 56 President's Commission on Academic Priorities in the Arts and Sciences, 1978-1983


Box 56 Composers Recording Incorporated (CRI): Minutes, etc., 1967-2002


Box 56 Ditson Fund, 1981-2003


Subseries VII.2: Personal Subject Files, circa, 1933-2010

This subseries contains documents related to Beeson's activities as a composer, including activities related to such organizations as the American Academy of Arts and Letters, the American Academy in Rome, the American Society of Composers, Authors and Publishers (ASCAP), the Pulitzer, and the National Endowment for the Arts; composition projects including completed operas as well as aborted opera conceptions; recommendations; delivered lectures; publications; biographical materials on figures in the arts such as Aaron Copland, Benjamin Britten, and Douglas Moore; and correspondence with colleagues in the arts including Paul Henry Lang, Otto Luening, Douglas Moore, William Saroyan, John Updike, Charles Wuorinen, and others. It is organized alphabetically.



Box 57 American Academy Institute of Arts and Letters: Centennial Committee,, 1991-1999


Box 57 American Academy of Arts and Letters: Charles Ives Living Award, 1992-1998


Box 57 American Academy Institute of Arts and Letters: General, 1992-1994


Box 57 American Academy of Arts and Letters: Luening Tribute, 1996


Box 57 American Academy of Arts and Letters: Centennial Volume Beeson Chapter,, 1997


Box 57 American Academy of Arts and Letters: Records (Board), 1968-1977


Box 57 American Academy in Rome, 1960-1964


Box 57 American Academy in Rome, 1965-1966


Box 57 American Academy in Rome, 1974-1975


Box 57 American Academy in Rome, 1984-1988


Box 57 American Composers Alliance, 1947-1971


Box 57 American Music Center, 1964-1965


Box 57 American Society of Composers, Authors and Publishers (ASCAP), 1959-1965


Box 57 ASCAP, 1966-1969


Box 57 ASCAP, 1970-1972


Box 57 ASCAP, 1973-1980


Box 57 ASCAP, 1980-1987



Box 58 American Society of University Composers (ASUC), 1968-1969


Box 58 Avshalomov, Jacob (correspondence), 1945-1990


Box 58 Aziz, Razak Abdul (correspondence), 1990-1992


Box 58 Bellagio/Rockefeller Foundation, 1975-1976


Box 58 Bergsma, William (Bill) (correspondence and biographical), 1975-1976


Box 58 Boyle, Harrison (correspondence), 1982-1986


Box 58 Britten, Benjamin (biographical), 1981-1997


Box 58 Buketoff, Igor: International Contemporary Music Exchange, Inc. (National Endowment for the Humanities) (correspondence),, 1973-1994


Box 58 Burr vs. Burr (abandoned opera idea), undated


Box 58 Camino Real Pursuit (Tennessee Williams play),, 1965-1979


Box 58 Center for Law and the Arts, 1987-1988


Box 58 Columbia University Press, 1988-1997


Box 58 Conductor's Award, 1999-2002


Copland, Aaron--Donation of Manuscript Material to Columbia University's Rare Book & Manuscript Library



Box 81 Original Materials, 1921 1979, 1921, 1979

(Letters, manuscripts, and printed materials, including the autograph manuscript ofFour Motetsby Aaron Copland, as well as three letters from Copland, copies of letters from Beeson, all related toFour Motets.)



Box 58 Photocopies of Materials in Box 81


Box 58 Related Materials, 1979-1984



Box 59 Cyrano German translation, 1994


Box 59 Cyrano performance at Hagen, 1994


Box 59 "Dowager-Villa" (poem), 1976-1993


Box 59 Eastman notes and compositions, 1940-1942


Box 59 Forum (Columbia Forum ) article, 1960-1973


Box 59 Foundation for New Music, 1990-1991


Box 59 Grove Dictionary (Beeson/Luening/Moore entries), 1972-1999


Box 59 Guggenheim, 1958-1962


Box 59 MACS (Guggenheim), 1961-1986



Box 60 Hanson, Howard (correspondence), 1945-1966


Box 60 Hinrichsen Award, 1969-1975


Box 60 Hunter College (program evaluation), 1975


Box 60 IIE/Rockefeller, 1963-1964


Box 60 Indiana State University, 1968


Box 60 Kirkpatrick, John (correspondence), 1948-1953


Box 60 Lang, Paul Henry (correspondence), 1963-1991


Box 60 Lectures: Columbia University lectures, 1987-1988 undated, 1987-1988, undated


Box 60 Lectures: 'Macbeth' Shakespeare and Verdi, 1960


Box 60 Lectures: Columbia College Dean's Day, 1963


Box 60 Lectures: RISD Words and Music lecture, 1965


Box 60 Lectures: UCLA lecture, 1966


Box 60 Lectures: UCLA "Words and Music" lecture, 1967


Box 60 Lectures: University Lecture, 1988


Box 60 Lectures: CU Society of Fellows, 1988


Box 60 Lectures: SUNY Plattsburg, 1994


Box 60 Lectures: Penn State, 1994


Box 60 Lectures: Lecture/Panel at Hofstra, 2000


Box 60 Lectures: Lecture for Verdi 100th, 2001



Box 61 Leda, 1957-1960 1994-1995, 1957-1960, 1994-1995


Box 61 Libretto search (leading to Cyrano ), 1978-1979


Box 61 Libretto search, 1995


Box 61 Libretti (ideas), 1971-2005


Box 61 Lizzie Borden: performances, 1960-1965


Box 61 Lizzie Borden: National Education Television,, 1965-1966


Box 61 Lizzie Borden: Desto Recording, 1965-1966


Box 61 Lizzie Borden: Deschner/Opera Quarterly articles,, 1966-1986


Box 61 Lizzie Borden: New York Opera Company revival,, 1967


Box 61 Lizzie Borden: German translation, 1973-1974


Box 61 Lizzie Borden: New York Opera Company revival,, 1976


Box 61 Lizzie Borden: Centennial, 1991-1997


Box 61 Lizzie Borden: Hagen performance, 1992-1993


Box 61 Lizzie Borden: Hagen performance clippings and "extras," circa, 1992-1993


Box 61 Lizzie Borden: Glimmerglass production



Box 62 Lizzie Borden: New York Opera Company revival,, 1998-1999


Box 62 Lizzie Borden: New York Opera Company/PBS (correspondence),, 1999


Box 62 Lizzie Borden reviews, etc: miscellaneous, 1965-1967 1992 1996, 1965-1967, 1992, 1996


Box 62 Lizzie Borden reviews, etc: Phillips dissertation,, 1993-1996


Box 62 Lizzie Borden reviews, etc: Glimmerglass symposium essays (Barzen),, 1996


Box 62 Lizzie Borden reviews, etc: Opera Journal review,, 1999


Box 62 Lizzie Borden reviews, etc: Sponaugle thesis,, 2002


Box 62 Louisville Opera, 1953-1957


Box 62 Luening, Otto (correspondence), 1945-1999


Box 62 MacDowell Colony, 1988



Box 63 MacDowell Professorship and EAM, 1967-1986


Box 63 Manacher, Zelda (correspondence), 1969-1971


Box 63 Manhattan School Commencement Address, 1986


Box 63 Meet the Composer, 1980-1990


Box 63 Meet the Composer, 1993-1998


Box 63 Mellen Press, 2007-2009


Box 63 Mellen Press (ad clippings), 2008-2010


Box 63 Metropolitan Opera and Columbia University, 1963


Box 63 Mikhashoff, Yvar (correspondence), 1980-1984


Box 63 Belwin Mills Publishing Corporation, 1958-1959


Box 63 Belwin Mills Publishing Corporation, 1959-1960


Box 63 Belwin Mills Publishing Corporation, 1960-1961


Box 63 Belwin Mills Publishing Corporation, 1961-1962



Box 64 Belwin Mills Publishing Corporation, 1962-1981


Box 64 Belwin Mills miscellaneous/backup, 1959-1986


Box 64 Monod, Jacques-Louis (biographical), 1958-1977


Box 64 Moore, Douglas (biographical), 1969 2004 undated, 1969, 2004 undated


Box 64 Moore, Douglas (correspondence), 1948-1966


Box 64 Moore, Douglas (miscellaneous), 1952-2010


Box 64 National Arts Club, 1973-1999


Box 64 National Endowment for the Arts (NEA), 1986-1988


Box 64 National Endowment for the Arts (NEA), 1990-1991


Box 64 National Federation of Music Clubs Prize, 1968



Box 65 O'Neill Theater Center, 1978-1980


Box 65 Parnassus Article, 1977


Box 65 Peabody Conservatory of Music, 1980


Box 65 Prosody (research materials), circa, 1982


Box 65 Potential publishers of "the Book" (rejected), 2006-2008


Box 65 Past music publishers' contracts and copyrights, 1945-1995


Box 65 Pulitzer (music committee), 1941-1986


Box 65 Pulitzer (music committee), 1986-1994


Box 65 Pulitzer (music committee), 1995-2007

(includes a "confidential" notebook of finalists and winners started by Douglas Moore and continued by Beeson, 1943-2004)


Box 65 Recommendations (sorted by date), 1959-1967


Box 65 Recommendations, 1968-1970


Box 65 Recommendations, 1971-1973


Box 65 Recommendations, 1974-1978


Box 65 Recommendations, 1978-1983


Box 65 Recommendations, 1984-1988



Box 66 Rockefeller Foundation, 1974


Box 66 Rogers, Bernard (biographical and correspondence), 1944-2005


Box 66 Saroyan, William (correspondence and miscellaneous), 1958-1959 1984-1997, 1958-1959, 1984-1997

(bulk of correspondence with Saroyan is inHello Out ThereandMy Heart Is in the Highlandsfiles and scrapbooks)


Box 66 Schonberg, Harold (miscellaneous), 1961-1992


Box 66 Smith, Milton (correspondence), circa, 1970


Box 66 Solum, John (commission), 1991-1998


Box 66 Sovern, Michael (Columbia University Press), 1980-1981


Box 66 Stevens, Denis (miscellaneous), 1973


Box 66 Stewart, Robert (correspondence), 1981-1982


Box 66 Updike, John (correspondence, mostly regarding AAAL centennial), 1991-1997


Box 66 U.S. Institute for Theatre Technology, Inc. (USITT), 1960-1963


Box 66 Wright, Maurice (correspondence), 1980-1985


Box 66 Wuorinen, Charles (correspondence and biographical), circa, 1971 undated


Box 66 Yorck, David and Freya von Moltke (biographical), 1990-1993


Box 66 "Xylophone Period," circa, 1933

(a banner that reads "Jack Beeson, Soloist with Garrett's Boys Band")

Series VIII: Datebooks, 1964-2009

This series includes approximately one datebook per year from 1964 to 2009. 1974 is missing, and there are two books each for 1968 and 1970.



Box 67 Datebooks (two datebooks each for 1968 and 1970), 1964-1971, 10 items



Box 68 Datebooks (no datebook for 1974), 1972-1973, 1975-1981, 9 items



Box 69 Datebooks, 1982-1991, 10 items



Box 70 Datebooks, 1992-2000, 10 items



Box 71 Datebooks, 2001-2009, 9 items

Series IX: Programs, 1942-2014

This series includes loose programs from concerts attended by Beeson, and is divided into two subseries: concerts featuring works by Beeson, and concerts without works by Beeson. The series is small, as many programs are incorporated into the scrapbooks (Series V), correspondence (Series VI), and subject files (Series VII).


Subseries IX.1: Works by Beeson, 1942-2014, undated

This subseries contains programs from concerts featuring works by Beeson. (There are many other programs listing works by Beeson found in the scrapbooks (Series V), correspondence (Series VI), and subject files (Series VII).)



Box 72 Programs, 1942-2014, undated


Subseries IX.2: Works by Others, 1955-2010

This subseries contains programs from concerts not including works by Beeson.


Box 72 Programs, 1955-2010, (4 folders)

Series X: Multimedia, 1965-2013, undated

This series includes audio, audiovisual, and assorted other materials relating to performances of Beeson's compositions.


Subseries X.1: Audio Recordings, 1976-2010 undated, 1976-2010, undated

This subseries contains commercially produced CDs and LPs of Beeson's works.



Box 74 Captain Jinks of the Horse Marines LP (RCA: ARL2-1727),, 1976


Box 74 Dr. Heidegger's Fountain of Youth LP (CRI 406),, 1979



Box 73 Hello, Out There CD (Bay Cities: BCD1034),, 1991


Box 73 The Sweet Bye and Bye CD (Citadel: CT-DOS-2000),, 1995


Box 73 Autumn Rhythms CD (CRI: CD712), 1996

(includes "Fantasy, Ditty and Fughettas for Two Baroque Flutes")


Box 73 Symphony No. 1 in A CD (Citadel: CTD88124),, 1997


Box 73 Carolyn Heafner Sings American Songs CD (CRI: CD854),, 2000

(includes "Death by Owl-Eyes," "The You Should Of Done It Blues," and "Eldorado")


Box 73 Fire, Fire, Quench Desire CD (Albany: TROY382),, 2000

(also includes "Six Lyrics," "Two Millay Sonnets," "Five Songs," "CAT!," "Death by Owl-Eyes," "The You Should Of Done It Blues," "Eldorado," "From a Watchtower," "Three Blake Songs," "Margret's Garden Aria," and "The Widow's Waltz")


Box 73 "4/15/03 Soundcheck" burned CD, 2003


Box 73 In Praise of Singing: Choral Music by Jack Beeson CD (Albany: TROY1036), 2008

(includes "Three Settings from the Bay Psalm Book," "Tides of Miranda," "Three Rounds," "Knots," "In Praise of Singing," "Summer Rounds and Canons," and "Epitaphs"; 2 copies)


Box 73 Sorry, Wrong Number and Practice in the Art of Elocution CD (Albany: TROY1036),, 2008


Box 73 Captain Jinks of the Horse Marines CD (Albany: TROY1149/50),, 2010


Box 73 Dr. Heidegger's Fountain of Youth and Hello Out There CD (Albany: TROY1312), 2012



Box 74 Symphony No. 1 in A LP (CRI 196), undated


Box 74 Captain Jinks of the Horse Marines LP (Desto: DC7222/3L),, undated



Box 73 Lizzie Borden CD (CRI: CD694), undated


Box 73 Cyrano burned CD, undated


Subseries X.2: Audiovisual Recordings, 1994-2013

This subseries contains a commercially released DVD ofLizzie Borden, and a VHS dub of a commercially released video ofCyranoperformed in Hagen.



Box 75 Cyrano VHS (dub of Boosey & Hawkes compilation of Hagen performances),, 1994


Box 75 Lizzie Borden DVD (Video Artists International/Boosey & Hawkes: DVD 4563),, 2013


Subseries X.3: Other Multimedia, 1965-2010 undated, 1965-2010, undated

This subseries includes promotional posters (from the Theater Hagen productions ofLizzie BordenandCyrano), photographs from the 1965 rehearsal and premiere ofLizzie Borden, and framed original sketches of costumes, characters, sets, and scenes fromLizzie Borden(1965),The Sweet Bye and Bye(1973),Hello Out There(undated), andMy Heart's in the Highlands(undated). The photographer and artists are mostly unidentified. The subseries also includes three CDs with digital photographs from Beeson's later life and his memorial concert.



Box 80 Promotional poster for Lizzie Borden at Theater Hagen,, 1992


Box 80 Promotional posters (2) for Cyrano at Theater Hagen,, 1994



Box 74 Assorted photos, 1965 and undated (31 items in 2 folders), 1965, undated



Box 73 "Jack Beeson Tribute Concert Photos," photo CD, 2010


Box 73 "CCO Jack Beeson Book Party," photo CD, undated


Box 73 "Jack Beeson Lo-Res Photos," photo CD, undated



Box Framed Items Three sketches of costumes from Lizzie Borden, 1965

(Abbie, Lizzie, and Margaret)


Box Framed Items Sketch of Billy Wilcox from The Sweet Bye and Bye, 1973


Box Framed Items Two sketches of set from Hello Out There, circa, 1954


Box Framed Items Two sketches of scenes from My Heart's in the Highlands, undated

(Mr. Kosak's Store)


Box Framed Items Sketch of a scene from an unknown work, undated

Series XI: Works by Other Authors, 1854-2002, undated

This series contains works by other authors in Beeson's personal collection that are inscribed or annotated by Beeson or others. It is divided in two subseries. The first subseries contains books, articles, and dissertations (i.e. written works), and the second contains scores and libretti (i.e. musical works).


Subseries XI.1: Written Works by Other Authors, 1854-2002, undated

This subseries contains Beeson's personal annotated, signed, or otherwise inscribed copies of books, articles, and dissertations by other authors.


Sub-subseries XI.1.1: Periodicals, 1980, 2002, undated



Box 75 The Musical Quarterly fragment, undated


Box 75 The Musical Quarterly 66(3), 1980

(Facsimile; inscribed "For Jack, himself an opera-tor, Piero"; correspondence inserted)


Box 75 Current Musicology 67/68, 2002

(Articles marked with Post-Its)


Sub-subseries XI.1.2: Dissertations and Papers, 1998, undated


Box 75 Bo Lawergren, "Acoustics of Musical Bows and Genesis of Instruments", undated

(Inscribed "To Jack Beeson with best wishes. Bo Lawengren. See especially pp 17-24 for new theory of the origin of music.")


Box 75 Stanley Arthur Warren, A Performer's Guide to Jack Beeson's 'Five Songs' (dissertation), 1998

(Annotated)


Box 75 Pamelia Sue Phillips A Performer's Guide to the Opera 'Lizzie Borden' by Jack Beeson (dissertation), 1998

(Letter from author inserted)


Sub-subseries XI.1.3: Books, 1854-1996, undated


Box 75 Richard Aldington Cyrano de Bergerac: Voyages to the Moon and the Sun . London: George Routledge & Sons Ltd.,, undated

(Bookmark inserted)


Box 75 Shillaber Mrs. Partington's Carpet-Bag of Fun,, 1854

(Stamped "Mercantile Library New York")


Box 75 Edmond Rostand (translator unknown)Cyrano de Bergerac . London: F. Tennyson Neely, 1898

(Inscribed to Jack Beeson by Miranda Beeson, 1981)


Box 75 Edmund Lester Pearson Studies in Murder . Garden City, NY: Garden City Publishing Co., 1924

(Annotated)


Box 75 Edmond Rostand (trans. Brian Hooker) Cyrano de Bergerac. New York: Henry Holt and Company, 1925

(Inscribed by Jack Beeson, 1980)


Box 75 Edmond Rostand (trans. Helen B. Dole) Cyrano de Bergerac. New York: Illustrated Editions Co., 1931

(Inscribed by Jack Beeson, 1980)


Box 75 Edmond Rostand (trans. Humbert Wolfe) Cyrano de Bergerac. Mount Vernon, NY: Peter Pauper Press, 1941

(Inscribed by Jack Beeson, 1980)


Box 75 William Saroyan The Time of Your Life. New York: Samuel French, 1941

(Inscribed by Miranda Beeson, 1974 clipping inserted)



Box 76 William Saroyan Razzle-Dazzle. New York: Harcourt, Brace and Company,, 1942

(First edition; inscribed to Jack Beeson from William Saroyan)


Box 76 Paul Goodman The Facts of Life. New York: The Vanguard Press,, 1945

(Annotated)


Box 76 Isabel Leighton, ed. The Aspirin Age. New York: Simon and Schuster, 1949

(Note inserted)


Box 76 Edmond Rostand (translator Louis Untermeyer) Cyrano de Bergerac. New York: The Heritage Press,, 1954

(Inscribed by Jack Beeson, 1980 notes inserted)


Box 76 Eric Bentley, ed. From the American Drama . Garden City, NY: Doubleday Anchor Books, 1956

(Includes Captain Jinks of the Horse Marines by Clyde Fitch and The Man with the Heart in the Highlands by William Saroyan; annotated)


Box 76 Lately Thomas The Vanishing Evangelist: The Aimee Semple McPherson Kidnaping Affair. New York: The Viking Press,, 1959

(Inscribed by Jack Beeson, 1961 notes and clippings inserted)


Box 76 Edward D. Radin Lizzie Borden: The Untold Story. New York: Simon and Schuster, 1961

(Annotated)


Box 76 Paul Kozelka, ed. Fifteen American One-Act Plays. New York: Washington Square Press, 1961

(Includes Sorry, Wrong Number by Lucille Fletcher; inscribed by Jack Beeson, 1994 annotated)


Box 76 Marjorie Wescott Barrows Drama I, 1962

(Stamped "Christopher Beeson")


Box 76 Bernard Gavoty Great Concert Artists: Claudio Arrau. Geneva: Rene Kister, 1962

(Clippings inserted)


Box 76 Nathaniel Hawthorne The Celestial Railroad and Other Stories. New York: New American Library, 1963

(Inscribed to Jack Beeson from Sheldon Harnick, 1976)


Box 76 Victoria Lincoln A Private Disgrace: Lizzie Borden by Daylight. New York: G.P. Putnam's Sons, 1967

(Inscribed to Jack Beeson from The Fiskes, 1967)


Box 76 Peter Viereck New and Selected Poems, 1932-1967. Indianapolis: The Bobbs-Merrill Company, Inc., 1967

(Annotated throughout; clippings, facsimiles, and notes inserted)



Box 77 Agnes de Mille Lizzie Borden: A Dance of Death. Boston: Little, Brown and Company, 1968

(Annotated; clipping inserted)


Box 77 Edmond Rostand (trans. James Forsyth) Cyrano de Bergerac. Chicago: The Dramatic Publishing Company, 1968

(Inscribed by Jack Beeson, 1980 annotated)


Box 77 Reginald Scot The Discoverie of Witchcraft. New York: Dover Publications, Inc., 1972

(Inscribed by Jack Beeson, 1990 annotated)


Box 77 Edmond Rostand (trans. Lowell Blair) Cyrano de Bergerac. The New American Library, Inc.:, 1972

(Inscribed by Jack Beeson, 1980 annotated)


Box 77 Ruth Whitman The Passion of Lizzy Borden: New and Selected Poems. New York: October House Inc., 1973

(Inscribed by Jack Beeson, 1974)


Box 77 Robert Sullivan Goodbye Lizzie Borden. Brattleboro, VT: The Stephen Greene Press, 1974

(Inscribed to Jack Beeson from Nora Beeson, 1974 annotated; clipping inserted)


Box 77 Edmond Rostand (translated and adapted by Anthony Burgess) Cyrano de Bergerac. New York: Alfred A. Knopf,, 1978

(Inscribed by Jack Beeson, 1980 annotated; clipping inserted)


Box 77 Edmond Rostand (trans. Brian Hooker) Cyrano de Bergerac. New York: Bantam Books, 1978

(Inscribed by Jack Beeson, 1980 annotated)


Box 77 Kathryn Paulsen The Complete Book of Magic and Witchcraft. New York: New American Library, 1980

(Annotated)


Box 77 Joyce G. Williams et al., eds. Lizzie Borden: A Case Book of Family and Crime in the 1980s. Self-published,, 1980

(Inscribed by Jack Beeson; annotated)


Box 77 John Frederick Cone First Rival of the Metropolitan Opera. New York: Columbia University Press, 1983

(Inscribed "Used in our writing ofJinks; Col Mapleson, Jack Beeson & SH")


Box 77 Evan Hunter Lizzie (A Novel ). New York: Arbor House, 1984

(Inscribed to Jack Beeson from Nora Beeson, 1984)


Box 77 Edwin H. Porter, The Fall River Tragedy: A History of the Borden Murders. Portland, ME: King Philip Publishing Co., 1985 (original 1893), 1985

(Facsimile and re-issue; inscribed by Jack Beeson, 1991)


Box 77 Arthur S. Phillips The Borden Murder Mystery: In Defence of Lizzie Borden. Portland, ME: King Philip Publishing Co.,, 1986

(Inscribed by Jack Beeson, 1991)


Box 77 Stephen Flowers The Galdrabok: An Icelandic Grimoire. York Beach, ME: Samuel Weiser Inc., 1989

(Annotated; clippings inserted)


Box 77 Arnold R. Brown Lizzie Borden: The Legend, the Truth, the Final Chapter. Nashville, TN: Rutledge Hill Press,, 1991

(Inscribed to Jack Beeson from Miranda Beeson, 1991)


Box 77 David Kent The Lizzie Borden Sourcebook. Boston: Branden Publishing Company, 1992

(Note inserted)



Box 78 Paul Banks, ed. The Making of Peter Grimes. Woodbridge, UK: The Boydell Press, 1996

(2 volumes; annotated)


Sub-subseries XI.1.4: Catalogues, Bibliographies, and Conference Proceedings, 1957-2001



Box 79 Igor Stravinsky: A Complete Catalogue of His Published Works. London: Boosey & Hawkes, 1957

(Inscribed by Jack Beeson, 1962 clippings inserted)


Box 79 Stravinsky and the Dance: A Survey of Ballet Productions, 1910-1962. New York: The New York Public Library,, 1962

(Inscribed by Jack Beeson, 1962)



Box 77 The Legend 100 Years After the Crime: A Conference on the Lizzie Borden Case . Conference proceedings, Bristol Community College, Fall River, MA,, August 3-5, 1992

(Annotated; clippings inserted)



Box 79 Mario R. Mercado, ed. Kurt Weill: A Guide to His Works (Second Edition). New York: Kurt Weill Foundation for Music, Inc.,, 1994

(Annotated; correspondence inserted)


Box 79 Jacques Barzun Sidelights on Opera at Glimmerglass. Cooperstown, NY: Glimmerglass Opera, 2001

(Annotated; correspondence inserted)


Subseries XI.2: Musical Works by Other Authors, 1946-1996, undated

This subseries contains Beeson's personal annotated, signed, or otherwise inscribed copies of scores and libretti by other authors.


Sub-subseries XI.2.1: Scores, 1946-1996, undated


Box 79 Victor Herbert/Rida Johnson Young Ah! Sweet Mystery of Life. New York: M. Witmark & Sons, undated

(Inscribed by Jack Beeson)


Box 79 Bela Bartok 44 Violin Duets. Boosey & Hawkes,, undated

(Inscribed by Jack Beeson)


Box 79 Bela Bartok Improvisations Op. 20 for Piano. New York: Boosey & Hawkes, undated

(Annotated on cover: "Died Wednesday September 26, 1945 New York City")


Box 79 Virgil Thomson/William Blake The Tiger, undated

(Facsimile of holograph; annotated)


Box 79 John Kander/Lucile Adler, [three songs], undated (Facsimile of holograph; annotated), undated


Box 79 Virgil Thomson/Gertrude Stein, The Mother of Us All, undated (Facsimile of holograph; annotated), undated


Box 79 William Bergsma First String Quartet. New York: G. Schirmer, Inc., 1946

(Score and parts; inscribed to Jack Beeson from Daniel Gregory Mason,1946 and to Jack Beeson from William Bergsma, 1951)


Box 79 Igor Strawinsky Oedipus Rex. Boosey & Hawkes,, 1948

(Full score; inscribed by Jack Beeson)


Box 79 Ross Bagdasarian/William Saroyan Come On-a My House. Duchess Music Corporation, 1951

(Clipping inserted)


Box 79 Sheldon Harnick Frustration. Bryn Mawr, PA: Merion Music, Inc.,, 1973

(Inscribed to Jack Beeson from Sheldon Harnick, 1974)


Box 79 Jacob Avshalomov Glorious th' Assembled Fires. Self-published, circa, 1991

(Inscribed to Jack Beeson from Jacob Avshalomov; program inserted


Box 79 Doris and Jacob Avshalomov Your Valentine!. Self-published, 1996

(Facsimile; note and clipping inserted)


Sub-subseries XI.2.2: Libretti, 1965, 1976, undated


Box 79 Ned Rorem/Kenward Elmslie Miss Julie. Boosey & Hawkes, 1965

(Inscribed to Jack Beeson from Kenward Elmslie, 1965; clippings inserted)


Box 79 Roger Sessions/G. Antonio Borgese Montezuma. The Opera Company of Boston, 1976

(correspondence inserted)


Box 79 Various works by Douglas Moore, undated

(Assorted photocopies and draft pages in folder)

Series XII: Additions to the Collection


2019 Addition, 1979-2013, undated

Gift of Miranda Beeson, 2013



Box 81 Lizzie Borden: A Family Portrait. An opera in three acts. Music by Jack Beeson. Libretto by Kenward Elmslie [DVD], 2013


Box 81 Salt Meadow by Miranda Beeson, April 2008


Box 81 Jack Beeson: A Life in Music Program of the concert at the Miller Theater, Columbia University., October 25, 2010


Box 81 Sweet Bye And Bye. Synopsis.


Box 81 "Cowboy Song". Words by Charles Causley. Music by Jack Beeson, 1979 September 17


Box 81 "Fire, Fire, Quench Desire" (for high voice and piano). Works by George Peele (from David and Bethsabe, 1599). Music by Jack Beeson