Posts by Bob Kosovsky

Beginning March 21, 2012, the American Brahms Society, in conjunction with the Graduate Center of the City University of New York, will present Brahms in the New Century. This three-day conference will bring some of the most important Brahms scholars to New York to share their latest research and analytical insights.

It was with sad news that we heard of the passing of Walfredo Toscanni, who died on December 31, 2011.  An architect who was based in New York City, he was the grandson of conductor Arturo Toscanini and was instrumental in allowing NYPL's Music Division to obtain the Toscanini Legacy — the massive collection containing the conductor's personal papers, musical scores, and recordings.

Happy New Year!

Just as a new chick emerges from its shell, so does the new year come upon us. This polka was composed by Francis H. Brown (1818-1891), one of numerous and forgotten 19th-century American composers of popular music.

On October 22, “Wikipedia! The Musical!” was staged at The New York Public Library for the Performing Arts. Despite its whimsical name, it was not really a musical but an editathon — a chance to edit Wikipedia with a group of people in an inspiring location. Though its focus was improving articles on musical theater, anyone interested in the performing arts was welcome.

As we go over statistics from the previous fiscal year (ending on June 30), we note with pleasure and pride numerous works that have been created utilizing materials from the Music Division.

Have you published a book or article, given a talk, or participated in a performance where your have benefited from research in the Music Division? We want to know about it! Please send me an e-mail so that I may include you in the list of works for the current fiscal year.

Happy belated 100th birthday to Lucille Ball!

While the Music Division of The New York Public Library for the Performing Arts may seem peripheral to Lucille Ball and her legacy, we do have an important connection to the theme music of her first television show.

To begin with, the Music Division has what is believed to be the first edition of the show’s theme song in sheet music format.

The Music Division is fortunate to have an internship program for several years. This program allows students the unique experience to see what it is like working in a large music research library. Most of our interns are library school students, but occasionally musicology students have been with us. The program is mutually beneficial with particular benefits for the intern: we give them representative projects to work on, and they in turn get to see and understand their efforts in the context of a large library. Interns have the opportunity to speak with and watch staff members work on a large variety of projects, are allowed to sit in on staff meetings, and get 

It can be a strange thing when professional life intersects with the personal in the form of archival documents.

For the past week, the music world has been mourning the death of conductor Yakov Kreizberg, age 51, who had been a rising star, especially in Europe. Though he performed infrequently in the United States, I had a close connection to him:  We were best friends during our college years at Mannes College The New School for Music, 1976-1979. 

What was the view of African Americans as reflected in early American music? Most histories of American music begin in the mid-19th century with minstrelsy or folk music (the Wikipedia entry is typical, beginning around 1850). It’s rare for studies on African American music to go back earlier, in part because there is so little.

But there is some.

It’s been two years since the conductor John McGlinn died (sometime between Feb. 13 and 19, 2009).  McGlinn was known most for his “complete” recording of Show Boat (released 1988).  At the time, recording all of the music written for one of the seminal shows of American musical theatre history seemed like a revolutionary idea. (Some 30 minutes of material has been subsequently found.)

What better way to honor the 198th birthday of Charles Dickens than with of one of the Music Division's more unusual items: A volume of music owned by Charles Dickens and his family.

Genealogy is back on prime time with the resumption of the show Who Do You Think You Are?, now beginning its second season on NBC-TV on Friday, February 4th.  Genealogy is my hobby too, so I'm always excited when I can combine it with my professional activities in the Music Division.

Each week for many years, Christopher Gray has written the Streetscapes column for the Sunday edition of the New York Times, focusing on out-of-the-way stories of curiosity, beauty, endangered and rescued architectural examples in New York.  His writings prompt one to stop, look, and reflect on the details of craftsmanship that have been put into the city and elsewhere.

New year's wishes to everyone!

Just a few words on the music pictured above.  This anonymous piano work was published around 1827 by Samuel Bromberg of New York City.  The address listed on the music is 395 Broadway, but in the New York City directory of 1829-1830, the publisher is located at 80 Broadway "upstairs."  Bromberg apparently came from Denmark: his petition for naturalization was made on June 9, 1835.  (These immigration and naturalization documents are available online through Ancestry.com, known as AncestryLibrary within the New York Public Library - where it is available in all branches free of charge.)

What better way to celebrate Beethoven’s birthday than with a unique portrait of Beethoven.  The impressive oil-painting above usually hangs in The New York Public Library for the Performing Arts on the 3rd floor in the Research Division.  (Due to recent reconfiguration of public space, the painting is temporarily taking a rest from public view.)  It measures 57 x 46 inches and has an impressive provenance.  You can see some of its former owners by looking at the catalog record for the painting.

The December 10, 2010 performance of the Metropolitan Opera’s production (which opens tonight) of Giacomo Puccini’s La fanciulla del West will mark the 100th anniversary of the opera, which had its premiere at the Met on the same date in 1910 featuring a stellar cast of Emmy Destinn, Enrico Caruso, and Pasquale Amato with Arturo Toscanini conducting.

Friday November 12, 2010 was a special day for users of Twitter and users of archives.  The day was designated as “Follow An Archive Day” or, to use the Twitter hashtag, #followanarchiveday

It’s been a while since my last post, but the genesis of this post began with July 4th, 2010.  I was thinking:  What better way to observe the anniversary of the United States of America than with the national anthem. (The image above ‑ seen through mylar protection ‑ is of the first edition of the Star-Spangled Banner owned by the Music Division – one of only nine surviving copies.)

(If you think this blog entry is about the 1922 film Orphans of the Storm by D. W. Griffith, you're not entirely wrong; wait until the end.)

With digitization of books being a hot topic, some of you may have heard of the term "orphan works." In brief, an orphan work is a work where the copyright holder cannot be found. For musical works, many assume that "the copyright holder" is simply the composer, but this is not always true. The copyright holder can be the composer's descendents, relatives, lawyers, or anyone that the creator designates as a legal successor after the creator's death. (When the musical work has been composed "for hire" then the copyright holder