{"id":7433,"date":"2021-03-11T12:33:50","date_gmt":"2021-03-11T17:33:50","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/sibley\/?page_id=7433"},"modified":"2021-03-11T12:33:50","modified_gmt":"2021-03-11T17:33:50","slug":"ser3-5","status":"publish","type":"page","link":"https:\/\/www.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/awilder\/ser3-5\/","title":{"rendered":"ALEC WILDER ARCHIVE"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=”.vc_custom_1615477265177{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Series 3: Recordings<\/h3>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1615918180886{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Sub-series 1: Reel-to-reel<\/span><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 1″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615477298620{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nRecessional
\n<\/em>Tape sent to Wilder from Joe Galante of Rochester
\nReel-to-reel tape, 3″
\nBox marked \u201cOrgan?\u201d
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSuite for solo flute in 7 movements
\n<\/em>Tidewater Music Festival. St Mary\u2019s College of Maryland, July 13, 1974
\nVirginia Nanzetta, flute
\nReel-to-reel tape, 5″
\nNote included in box \u201cDear Alec, Sorry for the delay, but here\u00a0finally<\/em>\u00a0are the unaccompanied flute pieces as performed here last July. Hope all is well. Very Best \u2013 Bob\u201d
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nDance, dream, frolic
\n<\/em>For solo harp
\nReel-to-reel tape, 7″
\nQuarter-track stereo; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nBassoon sonata no. 2
\n1.<\/em>Lottridge and T. Barrows, December 1969
\nReel-to-reel tape, 5″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nSonata for baritone horn and piano
\n<\/em>University of Tennessee, April 12, 1974
\nReel-to-reel tape, 5″
\n4-track stereo; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nHorn and bassoon duets
\n<\/em>Dick Lottridge & Nancy Beckwell, May 13, 1974
\nReel-to-reel tape, 7″
\nHalf-track mon<\/em>o
\nProvenance: Wilder tapes.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nSonata no. 3 for French horn and piano
\n<\/em>Performed by John & Tait Barrows; Madison, Wisconsin, spring 1968.
\nBox marked \u201cFaculty chamber music concert Pt I\u201d
\nReel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nFlute sonata no. 2
\n<\/em>Bonnie Boyd, flute; Mieko Nakagami, piano
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nSonata for baritone; <\/em>and several other selections by different composers
\nUniversity of Wisconsin, School of Music Senior Euphonium Recital 2\/29\/72
\nBarry M. Kilpatrick, baritone; Arnold Koch, piano
\nReel-to-reel tape, 7″
\nOne side; 3.75 ips
\n<\/em>Provenance: Wilder tapes
\nConcert program attached to box
\nIn ink on program, \u201cFor Alec Wilder \u2013 Barry Kilpatrick\u201d<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nSonata for English horn and piano
\n<\/em>1966
\n<\/em>Reel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nClarinet Sonata
\n<\/em>\u00a0<\/em>reel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nFlute Sonata
\n1.<\/em>Cole and A. Beckwell, October 1, 1967
\nReel-to-reel tape, 7″
\nFull-track<\/em>; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nBass trombone sonata
\n<\/em>Reel-to-reel tape, 7″
\nStereo; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nTrio for clarinet, horn and piano<\/em>; and several selections by different composers
\nThe University of Wisconsin School of Music
\n1973 Woodwind Festival Chamber Music Concert \u2013 June 24, 1973
\nGlenn Bowen, clarinet; Nancy Becknell, horn; Ellen Burmfister, piano.
\nreel-to-reel tape, 7″
\nAccompanied by a copy of the printed concert program
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 2″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615477580007{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 15<\/strong><\/td>\nSuite for Flute, Clarinet, Piano
\n1968?
\nReel-to-reel tape, 5″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nSuite for Flute, Clarinet, and Piano
\nJanet Weiss, flute; Mitchell Weiss, Clarinet; Lalanne Parrott, piano; March 4,
\n1970
\nReel-to-reel tape, 5″
\nHome recording : the Weiss apartment, NYC
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nTrio for tuba, guitar, and flute
\n<\/em>1971
\nReel-to-reel tape, 5″
\nQuarter-track stereo; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nSuite for oboe, horn and harp
\n<\/em>1971
\nReel-to-reel tape, 5″
\n4-track stereo; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nSuite for oboe, horn and harp
\n<\/em>June 29, 1969
\nReel-to-reel tape, 7″
\nQuarter-track stereo; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nSuite no. 2 for clarinet, bassoon, and piano
\n<\/em>Reel-to-reel tape, 7″
\nFull-track mono; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nTrio
\n<\/em>Performed by Barrows, Bowen, Barrows ; Madison, Wisconsin; February 26, 1968
\nReel-to-reel tape, 7″
\nBox marked \u201cFaculty chamber music concert Pt II\u201d
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nWoodwind Quintet No. 11
\n<\/em>Wingra Quintet, September 22, 1974
\nReel-to-reel tape, 7″
\nQuarter-track stereo; 7.5 ips
\n<\/em>Note: Long lead tape before 1st<\/sup> movement.
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nWoodwind Quintet No. 11; <\/em>and several other selections by different composers
\nFaculty Chamber Music Series. Arizona State University, May 10, 1972
\nGammage Wind Quintet:
\nEdwin Putnik, flute
\nFrank Stalzer, oboe
\nJack Ratterree, clarinet
\nJohn Barrows, horn
\nJack Rausch, bassoon
\nReel-to-reel tape, 7″
\nConcert program included in box
\nIn ink on program, \u201cAlec \u2013 this was originally recorded on 3 \u00be – I copied it on 7 \u00bd – somewhat better. Jack\u201d
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nWoodwind Quintet No. 7
\n<\/em>Reel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nTrio for clarinet, horn, and piano;
\n<\/em>Woodwind Quintet No. 10
\n<\/em>reel-to-reel tape, 7″
\nFull-track; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 26<\/strong><\/td>\nSuite for non-voting quintet
\n<\/em>Arizona State University student woodwind quintet.
\nCoached by: Mr. John Barrows
\nKathy Luhr, flute; Rhonda Beauchamp, oboe; Dan Seiker, clarinet; Beth Mazur, horn; Lyle Dockendorff, bassoon.
\nReel-to-reel tape, 7″
\n4-track stereo; 7.5 ips
\n<\/em>Provenance: Wilder tapesBuxtehude\/Wilder sonata (Jesu, joy and treasure)
\n<\/em>Phoenix Woodwind Quintet
\nBilly Watt, flute; Rhonda Beauchamp, oboe; Beth Fogle, clarinet; Jeanette Willis, horn; Lyle Dockendorff, bassoon
\nReel-to-reel tape, 7″
\n4-track stereo; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 27<\/strong><\/td>\nSuite for baritone sax (French horn?) and woodwind quintet
\n<\/em>Reel-to-reel tape, 7″
\nHalf-track.
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 28<\/strong><\/td>\nSeptet
\n<\/em>New York Woodwind Quintet
\nBarrows & Bowen
\nReel-to-reel tape, 7″
\nLast movement incomplete
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 3″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615478243864{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 29<\/strong><\/td>\nSeptet for woodwind quintet, French horn, and baritone saxophone<\/em>.
\nTommy Newsom, flute; Phil Bodner, oboe; Walt Levinsky, clarinet; Earl Chapin, French horn; Wally Kane, bassoon; Gerry Mulligan, baritone saxophone; Jim Buffington, French horn. April 9, 1971
\nReel-to-reel tape, 7″
\n4-track stereo; 7.5 ips
\n<\/em>Compiled from rehearsal tapes
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 30<\/strong><\/td>\n[Unidentified]. \u2014 [5\/27\/71].
\nReel-to-reel tape, 7″
\n4-track stereo; 7.5 ips
\nBox marked \u201cRehearsal Reel #1\u201d
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 31<\/strong><\/td>\n[Unidentified]. \u2014 [5\/27\/71].
\nReel-to-reel tape, 7″
\n4-track stereo; 7.5 ips
\n<\/em>Box marked \u201cRehearsal Reel #2\u201d
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 32<\/strong><\/td>\n[Unidentified]. \u2014 [5\/27\/71].
\nReel-to-reel tape, 7″.
\n4-track stereo; 7.5 ips
\n<\/em>Box marked \u201cRehearsal Reel #3\u201d
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 33<\/strong><\/td>\n[Unidentified]. \u2014 [5\/27\/71].
\nReel-to-reel tape, 7″
\n4-track stereo; 7.5 ips
\n<\/em>Box marked \u201cRehearsal Reel #4\u201d
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 34<\/strong><\/td>\nConcerto for tenor saxophone and chamber orchestra
\n<\/em>Zoot Sims, soloist. University of Miami Orchestra; Frederick Fennell, conductor.
\nNovember 20, 1968
\nReel-to-reel tape, 5″
\nMono; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 35<\/strong><\/td>\nHorn concerto
\n<\/em>Performed August 1961, Norfolk Connecticut.
\nReel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 36<\/strong><\/td>\nSonata for tuba
\n<\/em>Ralph Childs, tuba. Eastman – Rochester Symphony Orchestra; Walter Hendl, conductor. February 22, 1968
\nReel-to-reel tape, 7″
\n4-track stereo
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 38<\/strong><\/td>\nConcerto for oboe
\n<\/em>Kim Youngblood. May 23, 1972
\nReel-to-reel tape, 7″
\n4-track stereo; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 39<\/strong><\/td>\nTenor sax concerto
\n<\/em>\u00a0<\/em>Zoot Sims, soloist.
\nBox marked \u201cRehearsal tape\u201d; \u201cFrederick Fennel conducting?\u201d
\nReel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 40<\/strong><\/td>\nConcerto for clarinet and chamber orchestra
\n<\/em>World premiere – Glenn Bowen, clarinet. Madison Symphony orchestra. Roland\u00a0 Johnson, conductor. January 27, 1974
\nReel-to-reel tape, 7″
\nStereo 5 track; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 41<\/strong><\/td>\nConcerto for clarinet and chamber orchestra
\n<\/em>World premiere – Glenn Bowen, clarinet. Madison Symphony orchestra. Roland\u00a0 Johnson, conductor. January 26, 1974
\nReel-to-reel tape, 7″
\nStereo 2 track; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 4″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615478937521{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n
folder 42<\/strong><\/td>\nEntertainment #4 for French horn and chamber orchestra
\n<\/em>Verne Reynolds, soloist; Walter Hendl, conductor; December 11, 1971
\n2-track stereo; 7.5 ips
\n<\/em>Reel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 43<\/strong><\/td>\nEntertainment II
\n<\/em>Symphonic band \u2013 1 movement
\nReel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 44<\/strong><\/td>\nEntertainment #1
\n<\/em>For wind ensemble
\n7.5 ips
\n<\/em>Reel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 45<\/strong><\/td>\n[Unidentified]
\nPellerite\u2019s flute class, Indiana University, December 4, 1972
\nReel-to-reel tape, 5″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 47<\/strong><\/td>\nSuite for trombone choir
\n<\/em>Students of the\u00a0 University of Wisconsin \u2013 19 trombones, 12 voices
\nReel-to-reel tape. 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 48<\/strong><\/td>\nMusic of Alec Wilder <\/em>[Full concert]
\nSt. Mary\u2019s College of Maryland, July 15, 1973Sonata No. 2 for flute and piano
\n<\/em>Virginia Nanzetta, flute; Arthur Tollefson, piano.Sonata No. 3 for French horn and piano
\n<\/em>Diana Marx, horn; Amy Lou Levy, piano.Sonata for clarinet and piano
\n<\/em>Robert Umiker, clarinet; Arthyr Tollefson, piano.Piano piece for pupils, vol. 2
\n<\/em>No. 2: Melanie Fuller
\nNo. 1: John Drymon SIDE 2Brass Quintet No. 4
\n<\/em>Jim Olcott, Bob Levy, trumpet; Diana Mrx, French horn; Brian Sherline, trombone; Gary Maske, tuba.Brassininity <\/em>(same players as Brass Quintet No. 4<\/em>)The Popular Songs <\/em>Reel-to-reel tape, 7″
\nProvenance: Wilder tapes.<\/td>\n<\/tr>\n
folder 49<\/strong><\/td>\nFlute sonata <\/em>no. 2; and, Horn Sonata, Op. 36<\/em> (Paul Turok)
\nVirginia Nanzetta, flute; Arthyr Tollefson, piano, St. Mary\u2019s College of MD
\nReel-to-reel tape, 5″
\n\u201c(made a few days after you left St. Mary\u2019s City)\u201d per typed note on box.
\nPerformance of Turok\u2019s Horn Sonata <\/em>dated July 18, 1973 \u2013 St. Mary\u2019s College Summer Music Camp.
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 5″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615478976691{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 55<\/strong><\/td>\nEntertainment No. 3
\n<\/em>Ohio State University Wind Ensemble, May 9, 1975
\nQuarter-track stereo; 7.5 ips
\n<\/em>\u00a0<\/em>\u201cHas drop outs!\u201d and \u201cLeft channel too low!\u201d per note on box
\nReel-to-reel tape, 5″
\nProvenance: Wilder tapes.<\/td>\n<\/tr>\n
folder 56<\/strong><\/td>\nSaxophone Quartet
\n<\/em>Reel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 57<\/strong><\/td>\nBrass Quintet
\n<\/em>Iowa Brass Quintet
\nReel-to-reel tape, 7″
\nProvenance: Wilder tapes.<\/td>\n<\/tr>\n
folder 58<\/strong><\/td>\nChildren\u2019s plea for peace
\n<\/em>Reel-to-reel tape, 4″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 59<\/strong><\/td>\n[Unidentified piece for wind ensemble and soprano, possibly Five Vocalises<\/em>]
\nIndiana University Symphonic Wind Ensemble. Eileen Farrell, soprano; Wilbur England-conductor, January 31, 1974
\nReel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 60<\/strong><\/td>\nTogether with Love, <\/em>containing;
\n137th<\/sup> Psalm; Did you ever cross over Sneden\u2019s; In the morning<\/em>, at the end of side II Eileen Farrell with CBS Orchestra \u2013 August 1946.
\nArrangements by AW
\nEileen Farrell and Andr\u00e9 Previn, Columbia Records 1962
\nReel-to-reel tape, 7″
\nMono; 7.5 ips
\n<\/em>Provenance: Wilder tapes.<\/td>\n<\/tr>\n
folder 61<\/strong><\/td>\nChildren\u2019s plea for peace
\n<\/em>Reel-to-reel tape, 7″
\nTwo-track stereo; 7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 64<\/strong><\/td>\nChicken Little Pt. I
\n<\/em>Reel-to-reel tape, 5″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 65<\/strong><\/td>\nChicken Little Pt. 2
\n<\/em>Reel-to-reel tape, 5″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 66<\/strong><\/td>\nPantagleize Music (All cues)
\n<\/em>Reel-to-reel tape, 7″
\n7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 76<\/strong><\/td>\nStan Getz at Tanglewood <\/em>
\nStan Getz, soloist; Boston Pops Orchestra, Arthur Fiedler conducting \u2013 October 25, 1966.<\/p>\n
    \n
  1. The bad and the beautiful <\/em>6:33<\/li>\n
  2. A song after sundown <\/em>5:35<\/li>\n
  3. Three pieces for Stan <\/em>10:30<\/li>\n
  4. Where do you go? <\/em>2:22<\/li>\n<\/ol>\n

    Arrangements by AW
    \nStereo; 7.5 ips
    \n<\/em>Reel-to-reel tape, 7″
    \nProvenance: Wilder tapes<\/p>\n<\/td>\n<\/tr>\n

folder 78<\/strong><\/td>\nKittiwake island <\/em>[track four]; and,\u00a0 How do you do, I love you <\/em>[track one]
\nMusic by Wilder, book and lyrics by Arnold Sundgaard.
\n1960 original cast
\nCast: Joe Lautner, Kathleen Murray. G. Wood, Lainie Kazan
\nReel-to-reel tape, 7″
\n7.5 ips
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 6″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615479034474{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 85<\/strong><\/td>\nThe creative world of Alec Wilder, song writer with a difference
\n<\/em>Produced written and narrated by Ken Barnes for the Frank Sinatra Appreciation Society, London, England 1969.
\nHalf-track; 7.5 ips
\n<\/em>Reel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 86<\/strong><\/td>\nAlec Wilder Memorial Program
\n<\/em>(Alec died on Dec. 24, 1980)
\nAlec Wilder in conversation with Willis Conover; Wilder\u2019s music. [tape 1 of 2]
\n7.5 ips
\n<\/em>Reel-to-reel tape, 7″
\nNote included in box, \u201c13 January 1981 Dear Mr. Schuller, Willis thought you would like a copy of this program. Best regards, Joy K. Martin, Assistant to Willis Conover, Music USA\u201d
\nProvenance: Wilder tapes.
\nAlec Wilder in conversation with Willis Conover about his music. [tape 2 of 2]
\n7.5 ips
\n<\/em>Reel-to-reel tape, 7″
\nProvenance: Wilder tapes.
\nBoth reels transferred to hard disk as of 7\/8\/2010, Eng: M7<\/td>\n<\/tr>\n
folder 87<\/strong><\/td>\nSuite for 2 clarinets #2
\n<\/em>Stereo; 7.5 ips
\n<\/em>Reel-to-reel tape, 5″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 88<\/strong><\/td>\nQuintet #12
\n<\/em>Wingra Quintet, University of Wisconsin, 1975.
\nComposed: spring, 1975
\nReel-to-reel tape, 7″
\nProvenance: Wilder tapes.<\/td>\n<\/tr>\n
folder 89<\/strong><\/td>\nConcerto for flute and chamber orchestra
\n<\/em>\u00a0<\/em>Bonita Boyd, flute; Joseph Werner, piano – 1977
\nQuarter-track stereo; 19.05cm\/s; 1.5 mil polyester tape
\n<\/em>Reel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 90<\/strong><\/td>\n[Wilder Octets]
\nSIDE 1 (recorded in 1945)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Theme & Variations <\/em>(4:09)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Air for bassoon <\/em>(4:31)
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Air for flute <\/em>(4:30)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Air for English horn <\/em>(3:55)
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Slow dance <\/em>(4:06)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Air for oboe
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>[WW Octet, College String Orchestra conducted by Frank Sinatra]
\nSIDE 2 (recorded in 1939-40)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Seldom the sun<\/em> (3:19)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Her old man was suspicious<\/em> (2:26)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 His first long pants <\/em>(2:37)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It\u2019s silk, feel it<\/em> (2:33)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pieces of eight <\/em>(2:35)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Such a tender night<\/em> (3:06)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 She\u2019ll be seven in May<\/em> (3:00)
\nOctet personnel: Jimmy Carroll, Eddie Powell, Mitch Miller, Harold Soltzer, Reggie Merrill, Walter Gross, Gerry Wills, Frank Carroll and Toots Mondello.
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em>1. Baker, H. Goltzer and M. Miller also noted on box.
\nQuarter-track stereo; 7.5 ips; dub.
\n<\/em>Reel-to-reel tape, 7″
\nProvenance: Wilder tapes.<\/td>\n<\/tr>\n
folder 91<\/strong><\/td>\nOboe Sonata
\n<\/em>\u00a0<\/em>Marc Fink, oboe; University of Wisconsin, Madison
\n\u00a0\u201c<\/em>A rough reading\u201d per note on box
\n<\/em>Reel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 92<\/strong><\/td>\nSuite for flute choir
\n<\/em>University of Wisconsin, students of Robert Cole, 1974 recital
\nReel-to-reel tape, 5″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 93<\/strong><\/td>\nJazz suite for four horns; <\/em>and Sing our song of love <\/em>(Shapiro-Wilder)
\nQuarter-track stereo; 7.5 ips; dub \u2013 Columbia Records.
\n<\/em>Reel-to-reel tape, 5″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 94<\/strong><\/td>\nA conversation with Alec Wilder
\n<\/em>With Arrand Parsons, Rochard Freed and George Stone
\nStereo; 3.75 ips
\n<\/em>P.b. date: July 20, 1969; Rec. date: May 17, 1969
\nReel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 7″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615479089250{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nAlec Wilder Concert Series at Ohio State University
\n<\/em>1st<\/span>\u00a0in the series of concerts at Ohio State University: Athens, OH
\nMusical director, Ron Socciarelli \u2013 May 12, 1976
\nReel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nAlec Wilder Concert Series at Ohio State University
\n<\/em>2nd<\/sup> in the series of concerts at Ohio State University: Athens, OH
\nMay 13, 1976
\nReel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nAlec Wilder Concert Series at Ohio State University
\n<\/em>3rd<\/sup> in the series of concerts at Ohio State University: Athens, OH
\nMay 14, 1976
\nReel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nThe truth about windmills
\n<\/em>Tape is recorded on both sides
\nContains enclosed note addressed to Bill from AWQuarter-track stereo; 7.5 ips
\n<\/em>Reel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nChildren\u2019s plea for peace
\n<\/em>Quarter-track stereo;
\n<\/em>Reel-to-reel tape, 7″
\nProvenance: Wilder tapes<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\n\u201cI remember Alec\u201d A tribute to Alec Wilder on the occasion of his 74th<\/sup> birthday
\n<\/em>Presented by Milford Fargo, professor of music education
\nHost: Robert Freeman, director
\nEastman School of Music – Howard Hanson Hall, February 16, 1981<\/p>\n
    \n
  1. I\u2019ll be Around \u2013 Mills Brothers \u2013 Decca 18318<\/li>\n
  2. It\u2019s so peaceful in the country \u2013 Mildred Bailey \u2013 Decca 3953<\/li>\n
  3. While we\u2019re young \u2013 Georgia Gibbs \u2013 Mercury 5681<\/li>\n
  4. Blue room (Rodgers, arr. Wilder) \u2013 Alec Wilder Octet \u2013 Brunswick 8505<\/li>\n
  5. The children met the train \u2013 George Russell Octet \u2013 MGM E3321<\/li>\n
  6. The boy with the wistful eyes (Ray-De Paul, arr. Wilder) \u2013 Carol Bruce \u2013 Columbia 36471<\/li>\n
  7. Alec Wilder introducing Frank Sinatra to soldiers \u2013 V Disc 635<\/li>\n
  8. Incidental music, Peter Pan (James Barrie) \u2013 Boris Karloff, Jean Arthur, original Broadway cast \u2013 Columbia 90097-V<\/li>\n
  9. Parker\u2019s Lament \u2013 Frank Parker \u2013 Columbia 40156<\/li>\n
  10. How lovely is Christmas \u2013 Bing Crosby \u2013 Golden LP 121<\/li>\n
  11. Horn belt boogie \u2013 Gunther Schuller, John Barrows, Jim Buffington, Ray Alonge; Stan Freeman \u2013 Columbia 39727<\/li>\n
  12. Lullaby for a lady \u2013 Marian McPartland, piano \u2013 Halcyon 109<\/li>\n
  13. Children\u2019s plea for peace (excerpts) \u2013 Eastman Children\u2019s Chorus, Eastman Wind Ensemble; Alec Wilder, narrator; Milford Fargo, conductor \u2013 Turnabout (Vox) 34413<\/li>\n
  14. The truth about windmills (excerpt) \u2013 Irene Stumberger, soprano; Virginia McConnell, mezzo-soprano; Milford Fargo, conductor \u2013 Tape<\/li>\n
  15. Today he\u2019s just a boy (Mountain boy); Did you ever cross over to Sneden\u2019s \u2013 Virginia McConnell, mezzo-soprano; Milford Fargo, piano.<\/li>\n
  16. Alec on Otto Harbach \u2013 Informal interview \u2013 tape<\/li>\n
  17. I\u2019ll be around \u2013 Diahann Carroll \u2013 Columbia 4-44477
    \n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/em>Includes description of event and concert program.<\/li>\n<\/ol>\n

    Half-track monaural; 3.75 ips
    \n<\/em>Reel-to-reel tape, 7″<\/p>\n<\/td>\n<\/tr>\n

folder 7<\/strong><\/td>\n[Unknown recording]
\nLabeled \u201cFor A.W.\u201d
\nReel-to-reel tape, 7″<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nSonata for viola and piano
\n<\/em>Karel Blaas, viola; Jane Abbott, piano.
\nFull-track monaural; 7.5 ips
\n<\/em>Reel-to-reel tape, 5″<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nSuite for unaccompanied French horn
\n<\/em>From the 12 pieces W209 – Margun Music
\nReel-to-reel tape, 5″<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1615479147104{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Sub-series 2: NPR American Popular Music Radio Shows<\/span><\/em><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nDavid Allyn sings Harold Arlen
\n<\/em>Program #8 of American popular song with Alec Wilder and friends
\n<\/em>For air week 11\/21\/76
\nHalf-track stereo; 7.5 ips
\n<\/em>Reel-to-reel tape, 10″
\nRemastered 10\/14
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 58:53
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nDavid Allyn sings Jerome Kern
\n<\/em>Program #2 of American popular song with Alec Wilder and friends
\n<\/em>For air week of Oct. 10
\nHalf-track stereo; 7.5 ips; tail out
\n<\/em>Reel-to-reel tape, 10″
\nRemastered 9\/7
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:05
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nTony Bennett sings Tony Bennett
\n<\/em>From American popular song with Alec Wilder and friends
\n<\/em>Stereo
\n<\/em>Reel-to-reel tape, 10″
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nJackie Cain sings Tommy Wolf & Alec Wilder
\n<\/em>From American popular song with Alec Wilder and friends
\n<\/em>Return date: April 15, 1977
\nStereo
\n<\/em>Reel-to-reel tape, 10″
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nJackie Cain sings Jimmy Van Heusen & others
\n<\/em>From American popular song with Alec Wilder and friends
\n<\/em>Return date: March 25, 1977
\nStereo
\n<\/em>Reel-to-reel tape, 10″
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:01
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nAnita Ellis sings Burke and Van Heusen
\n<\/em>\u00a0<\/em>From Series II, Program #2 of American popular song with Alec Wilder and friends
\n<\/em>Half-track stereo; 7.5 ips; tail out
\n<\/em>Reel-to-reel tape, 10″
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nAnita Ellis sings Burton Lane
\n<\/em>Program #7 of American popular song with Alec Wilder and friends
\n<\/em>For week of 2\/12\/78
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nSouth Carolina Educational Radio Net
\nContains handwritten note on contents of reel
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nJohnny Hartman sings Cole Porter
\n<\/em>Program #10 of American popular song with Alec Wilder and friends
\n<\/em>For air week of 12\/5\/76
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nRemastered 11\/1
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nJohnny Hartman sings Cole Porter<\/em> [copy 2]
\nProgram #10 of American popular song with Alec Wilder and friends
\n<\/em>For air week of 12\/5\/76
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nRemastered 11\/1
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nJohnny Hartman sings Billy Strayhorn
\n<\/em>Program #6 of American popular song with Alec Wilder and friends
\n<\/em>For air week of 11\/7\/76
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nRemastered 9\/22
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nDick Haymes sings Harry Warren
\n<\/em>Program #14 of American popular song with Alec Wilder and friends
\n<\/em>For air week of 1\/2\/77
\nReel-to-reel tape, 10″
\n\u00a0Half-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nCorrected show tape
\nRemastered 11\/18
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nDick Haymes sings Gershwin
\n<\/em>From American popular song with Alec Wilder and friends
\n<\/em>Reel-to-reel tape, 10″
\n<\/em>Return date: January 15, 1977
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nWoody Herman sings mostly blues
\n<\/em>Series II, program #4 of\u00a0American popular song with Alec Wilder and friends
\n<\/em>For air week of 1\/22\/78
\nReel-to-reel tape, 10″
\n<\/em>Half-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em>Time: 59:00
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nTeddi King sings Rodgers & Hart
\n<\/em>Program #3 from\u00a0American popular song with Alec Wilder and friends
\n<\/em>For air week of 10\/17\/76
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em>Time: 58:53
\nRemastered 9\/9\/76
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nTeddi King sings Mildred Bailey
\n<\/em>Program #3 from American popular song with Alec Wilder and friends
\n<\/em>For air week of 11\/28\/76
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nRemastered 10\/12\/76
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nBernie Knee sings vintage pop songs
\n<\/em>Program #5 from American popular song with Alec Wilder and friends
\n<\/em>For air week of 1\/29\/78
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nBernie Knee sings vintage pop songs<\/em>\u00a0[copy 2]
\nNew copy 2\/2\/87
\nReel-to-reel tape, 10″<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nIrene Krall sings Coward and Legrand
\n<\/em>Program #8 from American popular song with Alec Wilder and friends
\n<\/em>For air week of 2\/19\/78
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nSouth Carolina Radio Network
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nIrene Krall sings swinging songs of the 70s
\n<\/em>Series III, program #3 from American popular song with Alec Wilder and friends
\n<\/em>Reel-to-reel tape, 10″
\nTwo-track stereo; 7.5 ips; tail out
\n<\/em>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/em>Time: 59:00
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nBarbara Lea sings Willard Robison
\n<\/em>from American popular song with Alec Wilder and friends
\n<\/em>August 19, 1976 – 2:30pm
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:04
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nBarbara Lea sings Lee Wiley
\n<\/em>Program #7 from American popular song with Alec Wilder and friends
\n<\/em>For air week of 11\/14\/76
\nRemastered 10\/7\/76
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 58:59
\nSouth Carolina Educational Radio
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nBarbara Lea sings Willard Robison <\/em>[copy 2]
\nNew copy 2\/2\/87
\nReel-to-reel tape, 10″
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nMary Mayo sings Vernon Duke
\n<\/em>from American popular song with Alec Wilder and friends
\n<\/em>Return date: 2\/4\/1977
\nStereo, Reel-to-reel tape, 10″
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 58:57
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nMary Mayo sings Stephen Foster and early American songs<\/em>
\n<\/em>from American popular song with Alec Wilder and friends
\n<\/em>Return date: 1\/22\/1977
\nStereo, Reel-to-reel tape, 10″
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:02
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nThe artistry of Mabel Mercer (Part I)<\/em>
\n<\/em>Program #12 from American popular song with Alec Wilder and friends<\/em>
\n<\/em>For air the week of 12\/19\/76
\nRemastered 11\/11\/76
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips; tail out
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 58:57
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 26<\/strong><\/td>\nThe artistry of Mabel Mercer (Part II)
\n<\/em>Program #13 from American popular song with Alec Wilder and friends
\n<\/em>For air the week of 12\/26\/76
\nRemastered 11\/11\/76
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:02
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 27<\/strong><\/td>\nEd Monteiro sings Joe Mooney
\n<\/em>Series II, program 12 from American popular song with Alec Wilder and friends
\n<\/em>For air the week of 3\/19\/78
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/em>Time: 59:00
\nSouth Carolina Radio Network
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 28<\/strong><\/td>\nMark Murphy sings Dorothy Fields
\n<\/em>Program #6 from American popular song with Alec Wilder and friends
\n<\/em>For air the week of 2\/5\/78
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nSouth Carolina Radio Network
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 29<\/strong><\/td>\nMark Murphy sings Cy Coleman
\n<\/em>Series II, program #1 from American popular song with Alec Wilder and friends
\n<\/em>Reel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips; tail out
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nSouth Carolina Educational Radio
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 30<\/strong><\/td>\nPortia Nelson sings Bart Howard
\n<\/em>Program #9 from American popular song with Alec Wilder and friends
\n<\/em>For air week of 2\/26\/78
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nSouth Carolina Educational Radio
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 31<\/strong><\/td>\nHugh Shannon sings saloon songs
\n<\/em>Program #10 from American popular song with Alec Wilder and friends
\n<\/em>For air week of 3\/5\/78
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nSouth Carolina Radio Network
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 32<\/strong><\/td>\nCarrie Smith sings Billie Holiday
\n<\/em>from American popular song with Alec Wilder and friends
\n<\/em>Reel-to-reel tape, 10″
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 33<\/strong><\/td>\nCarrie Smith sings Hoagy Carmichael
\n<\/em>From American popular song with Alec Wilder and friends
\n<\/em>Reel-to-reel tape, 10″
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 34<\/strong><\/td>\nMarlene Verplanck sings Hugh Martin
\n<\/em>Program #4 from American popular song with Alec Wilder and friends
\n<\/em>For air week of 10\/24\/76
\nReel-to-reel tape, 10″
\nHalf-track stereo; tail out
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nRemastered 9\/16\/76
\nSouth Carolina Educational Radio
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 35<\/strong><\/td>\nMarlene Verplanck sings one-shot songwriters
\n<\/em>Program #11 from American popular song with Alec Wilder and friends
\n<\/em>For air week of 12\/12\/76
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips; tail out
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nRemastered 11\/3
\nSouth Carolina Educational Radio Net
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 36<\/strong><\/td>\nMargaret Whiting sings Richard Whiting and Arthur Schwartz
\n<\/em>From American popular song with Alec Wilder and friends
\n<\/em>Return date: 4\/22\/77
\nReel-to-reel tape, 10″
\nStereo
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 37<\/strong><\/td>\nMargaret Whiting sings Johnny Mercer
\n<\/em>From American popular song with Alec Wilder and friends
\n<\/em>Return date: 4\/1\/77
\nReel-to-reel tape, 10″
\nStereo
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:01
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 38<\/strong><\/td>\nThe artistry of Bobby Short (Part II)
\n<\/em>From American popular song with Alec Wilder and friends
\n<\/em>Reel-to-reel tape, 10″
\nStereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 39<\/strong><\/td>\nThe songs of Tony Bennett (Pt. II)
\n<\/em>From American popular song with Alec Wilder and friends
\n<\/em>Return date: 4\/29\/77
\nReel-to-reel tape, 10″
\nStereo
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 40<\/strong><\/td>\nThelma Carpenter sings musical comedy and film song
\n<\/em>Program #5 from American popular song with Alec Wilder and friends
\n<\/em>For air week of 10\/31\/76
\nReel-to-reel tape, 10″
\nHalf-track stereo; tail out
\n<\/em>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/em>Time: 58:50
\nRemastered 9\/16
\nSouth Carolina Educational Radio
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 41<\/strong><\/td>\nMemorable moments \u2013 review of series
\n<\/em>Series II, program #13 from American popular song with Alec Wilder and friends
\n<\/em>For air week of 3\/26\/78
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips; tail out
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nSouth Carolina Radio Network
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 42<\/strong><\/td>\nSongs of George Shearing
\n<\/em>Program #11 from American popular song with Alec Wilder and friends
\n<\/em>For air week of 3\/12\/78
\nReel-to-reel tape, 10″
\nHalf-track stereo; 7.5 ips
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nSouth Carolina Radio Network
\nContains NPR quality control report form stating that entire program is out of azimuth and has various mix problems, but will pass for air (dated 2\/6\/78)
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n
folder 43<\/strong><\/td>\nThe artistry of Bobby Short (Part I)
\n<\/em>\u00a0<\/em>From American popular song with Alec Wilder and friends
\n<\/em>\u00a0Stereo
\n<\/em>Reel-to-reel tape, 10″
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Time: 59:00
\nProvenance: Thomas Hampson<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1615479295488{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Sub-series 3: Discs<\/span><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 1″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615479312525{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nSuite for horn and strings
\n<\/em>Entertainment No. 2
\n<\/em>\u00a0<\/em>33 1\/3 rpm
\nSpecial Pressing
\nA&R: New York, NY
\nProvenance: Gunther Schuller<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSongs
\n<\/em>Rain, rain don\u2019t go away<\/em>
\nIt\u2019s getting awful lonely out tonight<\/em>
\nThe first time we\u2019re alone again<\/em>\u00a0<\/em>
\nSlow waltz<\/em>
\nFast waltz<\/em>
\nEndings<\/em>
\nTree into girl<\/em>
\nTree into girl long<\/em>
\nTree into girl long with accel.<\/em>33 1\/3 rpm
\nSpecial Pressing
\nFine Recording, Inc. \u2013 Noel Productions: New York, NY
\nProvenance: Gunther Schuller<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSaxophone suite
\n<\/em>Songs for Patricia
\n<\/em>33 1\/3 rpm Special Pressing
\nA&R: New York, NY
\nProvenance: Gunther Schuller<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nSaxophone quartet
\n<\/em>Hollywood Sax 4
\n1\/25\/1965
\n33 1\/3 rpm
\nSpecial Pressing
\nA&R: New York, NY
\nProvenance: Margun Music<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\n\n

Side 1:<\/p>\n

Suite for string bass and piano
\n<\/em>Suite for string bass and guitar<\/em><\/p>\n

Side 2:<\/p>\n

Suite for string bass and guitar <\/em>(continued)
\nSonata for string bass and piano<\/em><\/p>\n

Gary Karr, bass; Bernard Leighton, piano; Frederick Hand, guitar
\nGolden Crest Records: Huntington Station, NY.
\nProvenance: Margun Music<\/p>\n<\/td>\n<\/tr>\n

folder 6<\/strong><\/td>\nSuite No. 3 for tuba
\n<\/em>Harvey Phillips, tuba33 1\/3 rpm
\nSpecial pressing
\nAudiodisc: New York, USA
\nProvenance: Gunther Schuller<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nPantagleize <\/em>[sic] Suite
\n<\/em>Introduction
\n<\/em>Bamboula\u2019s dance<\/em>
\nBamboula\u2019s song<\/em>
\nLullaby<\/em>
\nMarch<\/em>
\nOboe solo \u2013 lullaby<\/em>
\nClarinet solo \u2013 Un petit vin blanc<\/em>
\nMinuet from quintette in B flat, composer \u2013 Franz Danzi<\/em>
\nLove music<\/em>
\nSoldier\u2019s song<\/em>
\nFrench taps<\/em>
\nMarch suite<\/em>
\n<\/em>Performed by the New York Woodwind Quintette
\n33 1\/3 microgroove, stereo
\nProduced by Noel Productions
\nProvenance: Margun Music<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nSongs <\/em>[copy 2]
\nRain, rain don\u2019t go away<\/em>
\nIt\u2019s getting awful lonely out tonight<\/em>
\nThe first time we\u2019re alone again<\/em>\u00a0<\/em>
\nSlow waltz<\/em>
\nFast waltz<\/em>
\nEndings<\/em>
\nTree into girl<\/em>
\nTree into girl long<\/em>
\nTree into girl long with accel.
\n<\/em>33 1\/3 rpm
\nSpecial Pressing
\nFine Recording, Inc. \u2013 Noel Productions: New York, NY
\nProvenance: Gunther Schuller<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nMusic composed by Jerome Hill;
\n<\/em>Orchestrated by Alec Wilder;
\n<\/em>Conducted by Samuel Baron
\n<\/em>\u00a0<\/em>Side 1:<\/p>\n
    \n
  1. Canone alla terza<\/em><\/li>\n
  2. Improvisation on an air in the Phrygian mode<\/em><\/li>\n
  3. Calliope waltz<\/em><\/li>\n
  4. Lament \u2013 for M.L.K. Jr. (English horn)<\/em><\/li>\n
  5. Air pathetique<\/em><\/li>\n
  6. Episode<\/em><\/li>\n
  7. Barcarolle<\/em><\/li>\n<\/ol>\n

    \u00a0<\/em>Side 2:<\/p>\n

      \n
    1. Three part inventions<\/em><\/li>\n
    2. Petite Suite<\/em><\/li>\n
    3. Sarabande<\/em><\/li>\n
    4. Canone alla ottava<\/em><\/li>\n
    5. Variations on a French folk song<\/em><\/li>\n
    6. Lament \u2013 for M.L.K. Jr. (oboe)<\/em><\/li>\n
    7. Sarabande (harpsichord)<\/em><\/li>\n
    8. Canary music<\/em><\/li>\n<\/ol>\n

      \u00a0<\/em>33 1\/3 rpm
      \nFine recording, Inc.: New York, NY
      \nProvenance: Margun Music<\/p>\n<\/td>\n<\/tr>\n

folder 10<\/strong><\/td>\nKittiwake island<\/em>
\nBy <\/em>Alec Wilder and Arnold Sundgaard
\n33 1\/3 rpm
\nSpecial Pressing
\nAdelphi sound studios: New York, NY
\nProvenance: Gunther Schuller<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\n\u201cPeacock Feathers\u201d<\/em>
\n<\/em>Conducted by Samuel Baron
\nSide A:<\/p>\n
    \n
  1. I see it now<\/em><\/li>\n
  2. 5\/4 dance<\/em><\/li>\n
  3. Love is when<\/em><\/li>\n
  4. Bill\u2019s theme<\/em><\/li>\n
  5. Taylor Mead theme<\/em><\/li>\n
  6. Hat in sky<\/em><\/li>\n
  7. Potted palm #1<\/em><\/li>\n
  8. Potted palm #2<\/em><\/li>\n
  9. Gypsy theme<\/em><\/li>\n
  10. Recorder and bass duet<\/em><\/li>\n
  11. Steak chase<\/em><\/li>\n
  12. Vespa waltz<\/em><\/li>\n<\/ol>\n

    Side B:<\/p>\n

      \n
    1. Platform dance (Two versions)<\/em><\/li>\n
    2. Astroillogical parlor<\/em><\/li>\n
    3. Chase thru woods<\/em><\/li>\n
    4. Mimosa\u2019s solitude<\/em><\/li>\n
    5. Lonely girl<\/em><\/li>\n
    6. Mimosa and me<\/em><\/li>\n
    7. Unbelievable (two versions)<\/em><\/li>\n
    8. Mimosa\u2019s Paris dance<\/em><\/li>\n
    9. Potted palm #3<\/em><\/li>\n
    10. Dance for B.B.<\/em><\/li>\n<\/ol>\n

      33 1\/3 rpm
      \nSpecial Pressing
      \nFine recording, Inc. \u2013 Noel Productions: New York, NY
      \nProvenance: Gunther Schuller<\/p>\n<\/td>\n<\/tr>\n

folder 12<\/strong><\/td>\n\n

Songs<\/em><\/p>\n

Side 3:
\nDestruction of the sandcastle
\n<\/em>Through
\n<\/em>Mabelle\u2019s folk tune<\/em>
\nHigh version<\/em><\/p>\n

Side 4:
\nFacing East<\/em>
\nThrough<\/em>
\nRock and roll fated<\/em><\/p>\n

33 1\/3 rpm
\nSpecial Pressing
\nFine recording, Inc.: New York, NY
\nProvenance: Gunther Schuller<\/p>\n<\/td>\n<\/tr>\n

folder 13<\/strong><\/td>\nAlbert Schweitzer
\n<\/em>Side #4
\n33 1\/3 rpm
\nSpecial Pressing
\nFine sound, Inc.: New York, NY
\nProvenance: Gunther Schuller\/Margun<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nAlbert Schweitzer
\n<\/em>Side #5
\n33 1\/3 rpm
\nSpecial Pressing
\nFine sound, Inc.: New York, NY
\nProvenance: Gunther Schuller\/Margun<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nAlbert Schweitzer
\n<\/em>Side #6
\n33 1\/3 rpm
\nSpecial Pressing
\nFine sound, Inc.: New York, NY
\nProvenance: Gunther Schuller\/Margun<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nAlbert Schweitzer
\n<\/em>Side #7 & 8
\n33 1\/3 rpm
\nSpecial Pressing
\nFine sound, Inc.: New York, NY
\nProvenance: Gunther Schuller\/Margun<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nAlbert Schweitzer
\n<\/em>Side #9
\n33 1\/3 rpm
\nSpecial Pressing
\nFine sound, Inc.: New York, NY
\nProvenance: Gunther Schuller\/Margun<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\n\n

Alec Wilder octets<\/em><\/p>\n

    \n
  1. Little white samba<\/em><\/li>\n
  2. Little girl, grows up<\/em><\/li>\n
  3. Remember me to youth<\/em><\/li>\n
  4. The amorous poltergeist<\/em><\/li>\n
  5. Jack this is my husband<\/em><\/li>\n
  6. They needed no words<\/em><\/li>\n
  7. Footnote to a summer love<\/em><\/li>\n
  8. The children met the train<\/em><\/li>\n<\/ol>\n

    33 1\/3 rpm
    \nSpecial Pressing
    \nMercury Records \u2013 MG 25008
    \nOriginal sleeve included separately<\/p>\n<\/td>\n<\/tr>\n

folder 19<\/strong><\/td>\nThe songs of Alec Wilder
\n<\/em>Side 1:<\/p>\n
    \n
  1. I\u2019ll be around <\/em>(Music & lyrics by Wilder) \u2013 Hugh Shannon<\/li>\n
  2. Everywhere I look<\/em> (Music by Wilder, lyrics by Engvick) \u2013 Anita Ellis<\/li>\n
  3. Walkin\u2019 sad<\/em> (Music by McGlohon, lyrics by Wilder) \u2013 Mark Murphy<\/li>\n
  4. If someday ever comes again<\/em> (Music by Wilder, lyrics by Mercer) \u2013 Mary Mayo<\/li>\n
  5. \u2019S gonna be a cold, cold day<\/em> (Music by Wilder, lyrics by McGlohon) \u2013 Johnny Hartman<\/li>\n
  6. Plenty good enough for me<\/em> (Music by Wilder, lyrics by McGlohon) \u2013 Barbara Lea<\/li>\n
  7. Is it always like this?<\/em> (Music and lyrics by Wilder) \u2013 Bobby Short<\/li>\n
  8. Soft as spring <\/em>(Music and lyrics by Wilder) \u2013 David Allyn<\/li>\n
  9. Love all the quiet flower people<\/em> (Music and lyrics by Wilder) \u2013 Marlene Verplanck<\/li>\n<\/ol>\n

    Side 2:<\/p>\n

      \n
    1. The winter of my discontent<\/em> (music by Wilder, lyrics by Berenberg) \u2013 Marlene Verplanck<\/li>\n
    2. Let me stay<\/em> (Music by Wilder, lyrics by McGlohon) \u2013 Ed Montiero<\/li>\n
    3. We lost our way <\/em>(Music by Wilder, lyrics by McGlohon) \u2013 Barbara Lea<\/li>\n
    4. All of us in it together<\/em> (Music by McGlohon, lyrics by Wilder) \u2013 Anita Ellis<\/li>\n
    5. When yesterday I loved you<\/em> (Music by Wilder, lyrics by McGlohon) \u2013 Mark Murphy<\/li>\n
    6. Baggage room blues<\/em> (Music by Wilder, lyrics by Sundgaard) \u2013 Woody Herman<\/li>\n
    7. Who can I turn to<\/em> (Music by Wilder, lyrics by Engvick) \u2013 Anita Ellis<\/li>\n
    8. The lady sings the blues<\/em> (music by Wilder, lyrics by Engvick) \u2013 Tony Bennett<\/li>\n
    9. Just an old stone house<\/em> (Music and lyrics by Wilder) \u2013 Frank Sinatra (arranged for orchestra by Alec Wilder)<\/li>\n<\/ol>\n

      On all other selections \u2013 Loonis McGlohon, piano; Terry Lafferty, fender bass; Jim Lackey, drums
      \n33 1\/3 rpm
      \nJJA 19795A
      \nIn ink written on inside jacket, \u201cFor one of the very few friends who makes me feel safe\u201d \u2013 Alec Wilder<\/p>\n<\/td>\n<\/tr>\n

folder 20<\/strong><\/td>\n\n

Alec Wilder <\/em>[featuring] Eastman School of Music Faculty Members<\/em><\/p>\n

Side 1:
\nChildren meet the train<\/em>
\nSuch a tender night<\/em>
\nJack, this is my husband<\/em>
\nShe\u2019ll be seven in May<\/em>
\nNeurotic goldfish<\/em>
\nKindergarten flower pageant<\/em>
\nLittle white samba<\/em>\u00a0<\/em><\/p>\n

Cynthia Folio, flute
\nJudith Ricker, oboe and English horn
\nRamon Ricker, clarinet
\nAndrew Sterman, clarinet
\nSydney Hodkinson, bass clarinet
\nK David Van Hoesen, bassoon
\nDavid Ratajczak, drums
\nBill Dobbins, harpsichord
\nDavid Finck, bass<\/p>\n

Side 2:<\/p>\n

Suite for flute and marimba
\n<\/em>Bonnie Boyd, flute
\nChris Norton, marimba<\/p>\n

Suite for guitar and bass<\/em>
\n<\/em>Gene Bertoncini, guitar
\nJames Van Demark, bass<\/p>\n

33 1\/3 rpm
\nPantheon PFN-2031
\nRecorded in the Eastman Theatre and Kresge Recording Studios, Eastman School of Music of the University of Rochester
\nProducer, John Santuccio; recording engineer, Ros Ritchie;
\nGraphics, Hal Wilson Associates
\nLiner notes by Mark A Radice, San Francisco State<\/p>\n<\/td>\n<\/tr>\n

folder 21<\/strong><\/td>\n\n

Children\u2019s plea for peace<\/em> \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em><\/p>\n

Side 1:
\nChildren\u2019s plea for peace
\n<\/em>Eastman children\u2019s chorus, members of the Eastman Wind Ensemble
\nMilford Fargo, Conductor
\nAlec Wilder, narrator
\nSponsored by Rochester Association for the United Nations<\/p>\n

Side 2:
\nBeethoven \u2013 \u201cOde to Joy\u201d, Allegro, assai vivace, from Symphony no. 9 in D minor Op. 125 (Choral)
\n<\/em>Wilma Lipp, soprano; Elisabeth Hoengen, alto; Julius Patzak, tenor; Otto Wiener, bass
\nThe Vienna Symphony Orchestra
\nJascha Horenstein, conductor
\n33 1\/3 rpm
\n<\/em>Turnabout Vox \u2013 TV-S 34413 (V-3638)
\nProduced by Howard Scott; Engineer: H. Ros Ritchie
\nCover illustration photograph by Louis Ouzer
\nLiner notes by Richard Freed
\nProvenance: Gunther Schuller<\/p>\n<\/td>\n<\/tr>\n

folder 22<\/strong><\/td>\nDemsey plays Wilder<\/em>
\n<\/em>David Demsey, soprano, alto and tenor saxophones
\nLillian Garwood \u2013 piano (side one)
\nBob Charest \u2013 piano (side two)
\nTom Hoffman \u2013 guitar
\nJohn Hunter \u2013 bass
\nBill Reeve \u2013 drums Side one:
\nAir for saxophone<\/em>
\nSonata for alto saxophone and piano<\/em>
\nSuite no. 1 for tenor saxophone and piano
\n<\/em>Sempre libero e rubato
\n<\/em>With passion, sempre rubato
\n<\/em>Flowingly <\/em>Side two:
\nI\u2019ll be around<\/em>
\nIf someday comes ever again<\/em>
\nSummer is a-comin\u2019 in<\/em>
\nIt\u2019s so peaceful in the country<\/em>
\nA long night<\/em>
\n<\/em>33 1\/3 rpm
\nSide one recorded January 7-8, 1985
\nSide two recorded April 13, 1985
\nGolden Crest RE 7109: Ancora, NJ
\nLiner note by Gunther Schuller<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\n\n

Harvey Phillips plays Alec Wilder\u2019s tribute to the Phillip\u2019s family<\/em><\/p>\n

Side 1:<\/p>\n

    \n
  1. Suite for flute and tuba \u2013 <\/em>Walter S. Hartley<\/li>\n
  2. Two part invention No. 1<\/em> \u2013 J. S. Bach<\/li>\n
  3. Selected movements from \u201csonatas for flute\u201d<\/em> \u2013 G. F. Handel<\/li>\n
  4. Suite no 1 for tuba and piano (Effie suite)<\/em><\/li>\n<\/ol>\n

    Side 2:<\/p>\n

      \n
    1. Song for Carol<\/em><\/li>\n
    2. Suite no. 2 for tuba and piano in four movements (Jessie suite)<\/em><\/li>\n
    3. Suite no. 3 for tuba and piano in four movements (Little Harvey suite)<\/em><\/li>\n
    4. Suite no. 4 for tuba and piano in four movements (Thomas suite)<\/em><\/li>\n
    5. Suite no. 5 for tuba and piano in four movements (Ethan Ayer suite)<\/em><\/li>\n<\/ol>\n

      33 1\/3 rpm
      \nGolden Crest recital series RE-7054: Huntington Station, NY
      \nPhotograph by Louis Ouzer
      \nIn ink on back of record jacket, \u201cTo Marian with great admiration and appreciation for all you do for all musicians \u2013 Harvey Phillips
      \nLiner notes from Frederick James and Harvey Phillips
      \nProvenance: Marian McPartland<\/p>\n<\/td>\n<\/tr>\n

folder 24<\/strong><\/td>\nIt\u2019s so peaceful in the country <\/em>
\n<\/em>Percy Faith and his orchestra featuring Mitch Miller on English horn and oboe
\nIt\u2019s so peaceful in the country
\n<\/em>While we\u2019re young<\/em>
\nGoodbye, John
\n<\/em>I\u2019ll be around
\n<\/em>It could happen to you
\n<\/em>Imagination
\n<\/em>Love among the young
\n<\/em>Moonlight becomes you
\n<\/em>Who can I turn to?
\n<\/em>So help me
\n<\/em>Darn that dream
\n<\/em>It\u2019s always you<\/em>\u00a0<\/em>33 1\/3 rpm
\nColumbia Records LP \u2013 CL779<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nMostly Wilder – Music for flute alone and flute and piano
\n<\/em>Virginia Nanzetta, flute; Milton Kaye, pianoSide 1:
\nSonata No. 2 for flute and piano (1965)
\n<\/em>Small suite for flute and piano
\n<\/em>Ballade<\/em><\/p>\n

Side 2:
\nSuite for unaccompanied flute<\/em> (1975)
\n33 1\/3 rpm
\nGolden Crest recital series RE-7054: Huntington Station, NY
\nCover by Phil Nanzetta
\nLiner notes by Robert Levy, music director of Tidewater Music Festival (Maryland)<\/p>\n<\/td>\n<\/tr>\n

folder 26<\/strong><\/td>\n\n

John Barrows and his French horn<\/em><\/p>\n

Side 1:
\nFirst sonata for horn and piano<\/em>
\nAllegro<\/em>
\nAndante<\/em>
\nAllegra giacosa<\/em>
\nSuite for Horn and piano \u2013 part I<\/em>
\nDons Quixotic<\/em>
\nSlow and sweet<\/em><\/p>\n

Side 2:
\nSecond sonata for horn and piano<\/em>
\nAllegro rithmico<\/em>
\nAndante eapizzo<\/em>
\nScherzo fantastica<\/em>
\nAllegro Ostenato<\/em>
\nSuite for horn and piano \u2013 Part II<\/em>
\nSong<\/em>
\nEpilogue<\/em>
\nSuitable for dancing<\/em><\/p>\n

33 1\/3 rpm
\nGolden Crest recital series RE-7002: Huntington Station, NY
\nNotes from editor and AW<\/p>\n<\/td>\n<\/tr>\n

folder 27<\/strong><\/td>\n\n

Marian McPartland plays the music of Alec Wilder<\/em><\/p>\n

Side 1:
\nJazz waltz for a friend<\/em>
\nWhy?<\/em>
\nWhile we\u2019re young<\/em>
\nLullaby for a lady<\/em>
\nInner circle<\/em><\/p>\n

\u00a0<\/em>Side 2:
\nI\u2019ll be around
\n<\/em>Trouble is a man
\n<\/em>Homework
\n<\/em>Where are the good companions?
\n<\/em>It\u2019s so peaceful in the country<\/em><\/p>\n

Side 1: Marian McPartland, piano; Michael Moore, bass<\/p>\n

Side 2: Marian McPartland, piano; Rusty Gilder, bass; Joe Corsello, drums<\/p>\n

33 1\/3 rpm
\nHalcyon Records \u2013 HAL 109
\nRecorded June 20 and 21 at Columbia Studios
\nEngineer, Frank Laico; Mixing and editing, Joe Scariza; Mastering, Gilbert Kong; Cover collage and design (framed by George E. Bailey), Joe Hendrick; Liner design, Susan Kemp; Color transparencies, Mel Simon; Inside photo, Katsuji Abe
\nLiner notes by James T Maher and Marian McPartland
\nIn ink on inside cover, \u201cJan 1991 For the Sibley Music Library Best Wishes Marian McPartland\u201d
\nProvenance: Marian McPartland<\/p>\n<\/td>\n<\/tr>\n

folder 28<\/strong><\/td>\nThe sand castle
\n<\/em>Composed and orchestrated by AW
\nOrchestra conducted by Samuel Baron
\nFrom the major motion picture produced and directed by Jerome Hill
\nPicture distributed by Louis de Rochmont Associates, Inc.Prelude<\/em>
\nVariations<\/em>
\nFacing east<\/em>
\nSwing music<\/em>
\nIncantation<\/em>
\nGolden knight<\/em>
\nLonely Seascape<\/em>
\nRagtime music
\n<\/em>Lullaby
\n<\/em>Finale<\/em>33 1\/3 rpm
\nColumbia LP \u2013 CL 1455
\nLiner notes by Jerome Hill<\/td>\n<\/tr>\n
folder 29<\/strong><\/td>\nThe music of Alec Wilder
\n<\/em>Conducted by Frank Sinatra
\nThe Alec Wilder Octet featuring Mitch Miller, oboe and Julius Baker, flute Side 1 (recorded in 1945):Theme and variations<\/em>
\nAir for bassoon<\/em>
\n<\/em>Harold Goltzer, soloist
\nAir for flute<\/em>
\n<\/em>Julius Baker, soloist
\nAir for English horn<\/em>
\n<\/em>Mitch Miller, soloist
\nSlow dance<\/em>
\nAir for oboe
\n<\/em>Mitch Miller, soloist Woodwind Octet, the Columbia String Orchestra and harpsichord
\nConducted by Frank Sinatra Side 2 (recorded in 1939 and 1940):Seldom the sun<\/em>
\nHer old man was suspicious<\/em>
\nHis first long pants
\n<\/em>It\u2019s silk, feel it!
\n<\/em>Pieces of eight
\n<\/em>Such a tender night
\n<\/em>She\u2019ll be seven in May <\/em>Including: Jimmy Carroll, Eddie Powell, Mitch Miller, Harold Goltzer, Reggie Merrill, Walter Gross, Gerry Gillis, Frank Carroll, Toots Mondello
\n33 1\/3 rpm
\nColumbia Legendary Performances Odyssey \u2013 Stereo 32 16 0262
\nCover art: Richard Mantel<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 2″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615479652761{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 30<\/strong><\/td>\nNew music for horns <\/em>[also contains works from various other composers]
\n<\/em>The Horn Club of Los Angeles
\nConducted by Gunther Schuller
\nSide 1:
\nNonet for brass<\/em>
\nModerate \u2013 Song \u2013 With a good humor \u2013 Swing a little<\/em>
\n<\/em>33 1\/3 rpm disc
\nEMI S-36036; Stereo Angel
\nSound engineer, Carson Taylor; producer, George Sponhaltz
\nIn ink on back of record jacket, \u201cFor M.M. who should know better than to buy frozen (written) music – Alec Wilder\u201d
\nProvenance: Marian McPartland<\/td>\n<\/tr>\n
folder 31<\/strong><\/td>\nAlec Wilder Sonata for cello and piano\u00a0<\/em>[also contains Beethoven Variations]
\nDavid Soyer, cello; Harriet Wingreen, piano
\n33 1\/3 rpm disc
\nGolden Crest Records: Huntington Station, NY.
\nGolden Crest Recital Series: RE 7009<\/td>\n<\/tr>\n
folder 32<\/strong><\/td>\nThe New York Woodwind Quintet plays the music of Alec Wilder
\n<\/em>Samuel Baron, flute; Jerome Roth, oboe; David Glazer, clarinet; John Barrows, horn; Bernard Garfield, bassoon
\nSide 1:
\nQuintet no. 2 for woodwinds (1956)
\n<\/em>Allegro \u2013 Andante e rubato \u2013 presto \u2013 allegro
\n<\/em>Suite for woodwinds!
\n<\/em>Scherzo for flute
\n<\/em>Andante for oboe<\/em>Side 2:
\nAir for clarinet<\/em>
\nBlues for horn<\/em>
\nBuffoonery for bassoon<\/em>
\nDinah<\/em> (Akst \u2013 Lewis \u2013 Young)
\nPavan <\/em>(H. Purcell)
\nChorale prelude Jesu, joy and treasure <\/em>(D. Buxtehude)
\nRondo andantino <\/em>(K.P.E. Bach)33 1\/3 rpm disc
\n– Golden Crest Records: Huntington Station, NY
\nGolden Crest Laboratory Series: CR 4028
\nLiner notes by Samuel Baron<\/td>\n<\/tr>\n
folder 33<\/strong><\/td>\nSonata for horn, tuba and piano <\/em>[also contains works from various other composers]
\nJohn Barrows, horn; Harvey Phillips, tuba; Bernie Leighton and Tait Sanford, piano
\n33 1\/3 rpm disc
\nGolden Crest Records: Huntington Station, NY.
\nGolden Crest Recital Series: RE 7018
\nLiner notes by James T. Maher<\/td>\n<\/tr>\n
folder 34<\/strong><\/td>\nSonata for trumpet and piano <\/em>[also contains works from various other composers]
\n<\/em>Joe Wilder, trumpet; Milton Kaye, piano; Harriet Wingreen, piano
\n33 1\/3 rpm disc
\nGolden Crest Records: Huntington Station, NY.
\nGolden Crest Recital Series: RE 7007
\nLiner notes by James T. Maher<\/td>\n<\/tr>\n
folder 35<\/strong><\/td>\nSonata for trombone and piano <\/em>[also contains works from various other composers]
\n<\/em>John Swallow, trombone; Harriet Wingreen, piano
\n33 1\/3 rpm disc
\nGolden Crest Records: Huntington Station, NY.
\nGolden Crest Recital Series: RE 7015
\nLiner note by John Barrows<\/td>\n<\/tr>\n
folder 36<\/strong><\/td>\nSonata for tuba and piano <\/em>[also contains works from various other composers]
\n<\/em>Harvey Phillips, tuba; Milton Kaye, piano; Bernie Leighton, piano
\n33 1\/3 rpm disc
\nGolden Crest Records: Huntington Station, NY.
\nGolden Crest Recital Series: RE 7006<\/td>\n<\/tr>\n
folder 37<\/strong><\/td>\nSonata #3 for French horn and piano <\/em>[also contains Hindemith Sonata for alto horn]
\nJohn barrows, French horn; Tait Sanford Barrows, piano
\n33 1\/3 rpm disc
\nGolden Crest Records: Huntington Station, NY.
\nGolden Crest Recital Series: RE 7034
\nLiner notes by James T. Maher<\/td>\n<\/tr>\n
folder 38<\/strong><\/td>\nSongs for Peggy Lee \/ Sinatra \/ Ella \/ Tony Bennett and singers like that\u2026<\/em>
\n<\/em>Demonstration Record \u2013 Limited edition for artists only
\nRecording is authorized for professional song audition purposes only
\nSide 1:
\nSongs by\u00a0 Bill Engvick and AW:
\nI see it now<\/em>
\nThe April age<\/em>
\nEllen<\/em>
\nLovers and losers<\/em>
\nI like it here<\/em>
\nThe lady sings the blues<\/em>
\n<\/em>33 1\/3 LP
\nTRO \u2013 The Richmond Organization<\/td>\n<\/tr>\n
folder 39<\/strong><\/td>\nSonata for clarinet and piano;<\/em>
\nSuite for flute, clarinet and piano <\/em>[also contains pieces by Frank Levy]
\n<\/em>Mitchell Weiss, clarinet and bass clarinet; Zita Carno, piano; Janet Weiss, flute
\n33 1\/3 rpm disc
\nSound Master Productions, Inc.: New York, NY; Stereo SMP-1003
\nProducer: Michael J. Shapiro; Engineer: Ralph Jones; Design\/cover photo: William E. Power
\n<\/em>Recorded at Kingsley Sound and mixed at Servisound \u2013 June 1973
\nLiner notes by Robert Lilienfeld, June 1973<\/td>\n<\/tr>\n
folder 40<\/strong><\/td>\nA child\u2019s introduction to the orchestra<\/em>
\n<\/em>Music by AW; lyrics by Marshall Barer; musical direction by Mitch Miller
\nThe Sandpiper Chorus & The Golden Symphony Orchestra, directed by Mitch Miller
\nSide A:<\/p>\n
    \n
  1. Antoinette the clarinet<\/em> (clarinet solo \u2013 David Oppenheim)<\/li>\n
  2. Knute the flute<\/em> (flute solo \u2013 Edward Powell)<\/li>\n
  3. Bobo the oboe<\/em> (oboe solo \u2013 Mitchell Miller)<\/li>\n
  4. Muldoon the bassoon<\/em> (bassoon solo \u2013 Harold Goltzer)<\/li>\n
  5. Crumpet the trumpet<\/em> (trumpet solo \u2013 Harry Freistadt)<\/li>\n
  6. Poobah the tuba<\/em> (tuba solo \u2013 William Bell)<\/li>\n
  7. Monsieur forlorn the French horn<\/em> (French horn solo \u2013 John Barrows)<\/li>\n
  8. Mike Malone the slide trombone<\/em> (trombone solo – William Bradley)<\/li>\n<\/ol>\n

    Side B:<\/p>\n

      \n
    1. Lucy Lynn the violin<\/em> (violin solo \u2013 George Ockner)<\/li>\n
    2. Mello fellow the cello<\/em> (cello solo \u2013 Frank Miller)<\/li>\n
    3. Nola the viola<\/em> (viola solo \u2013 Bernie Ocko)<\/li>\n
    4. Lovelace the bass<\/em> (bass solo \u2013 Frank Carroll)<\/li>\n
    5. Peter percussion<\/em> (drum solo \u2013 Terry Snyder)<\/li>\n
    6. Max the saxophone<\/em> (saxophone solo \u2013 Don Hammond)<\/li>\n
    7. Mort the pianoforte<\/em> (piano solo \u2013 Bernie Leighton)<\/li>\n
    8. Lady harp <\/em>(harp solo \u2013 Myer Rosen)<\/li>\n
    9. The orchestra<\/em> (first and second movements)<\/li>\n
    10. The orchestra<\/em> (third and fourth movements)<\/li>\n<\/ol>\n

      33 1\/3 rpm
      \nGolden Records: New York, NY<\/p>\n<\/td>\n<\/tr>\n

folder 41<\/strong><\/td>\nSongs for Patricia and other music of Alec Wilder<\/em>
\n<\/em>Shannon Bolin, voice; Milton Kaye, piano
\nSide 1:
\nSongs for Patricia <\/em>(words by Norman Rosten)
\nSide 2:<\/p>\n
    \n
  1. Chick Lorimer<\/em> (words by Carl Sandburg)<\/li>\n
  2. Cedars are growing<\/em> (words by Arnold Sundgaard)<\/li>\n
  3. Definition <\/em>(words by William Engvick)<\/li>\n
  4. Did you ever cross over to Sneden\u2019s?<\/em> (words by AW)<\/li>\n
  5. Where do you go?<\/em> (words by Arnold Sundgaard)<\/li>\n
  6. The plowman<\/em><\/li>\n
  7. River run<\/em> (words by Marshall Barer)<\/li>\n
  8. The Coleen<\/em> (words by James Stephens)<\/li>\n
  9. Margaret<\/em> (words by Gerald Manley Hopkins)<\/li>\n
  10. Pied beauty <\/em>(words by Gerald Manley Hopkins)<\/li>\n<\/ol>\n

    33 1\/3 rpm LP
    \nRiverside Records: New York, NY
    \nRiverside Specialty Series RLP 12-805<\/p>\n<\/td>\n<\/tr>\n

folder 42<\/strong><\/td>\nThe New York Woodwind Quintet plays the music of Alec Wilder
\n<\/em>Samuel Baron, flute; Jerome Roth, oboe; David Glazer, clarinet; John Barrows, horn; Bernard Garfield, bassoon Side A:
\nQuintet no. 2 for woodwinds (1956)<\/em>
\nAllegro \u2013 Andante e rubato \u2013 presto \u2013 allegro<\/em>
\nSuite for woodwinds<\/em>
\nScherzo for flute<\/em>
\nAndante for oboe<\/em>Side B:
\nAir for clarinet<\/em>
\nBlues for horn<\/em>
\nBuffoonery for bassoon<\/em>
\nDinah<\/em> (Akst \u2013 Lewis \u2013 Young)
\nPavan <\/em>(H. Purcell)
\nChorale prelude Jesu, joy and treasure <\/em>(D. Buxtehude)
\nRondo andantino <\/em>(K.P.E. Bach)33 1\/3 microgroove disc – Golden Crest Records: Huntington Station, NY
\nGolden Crest Tru Hi-fi recording: CR 3019
\nLiner notes by Samuel Baron<\/td>\n<\/tr>\n
folder 43<\/strong><\/td>\nBarry Snyder plays Alec Wilder\u2019s suite for piano, Prokofiev 7th<\/sup> sonata<\/em>
\n<\/em>Barry Snyder, pianist Side 1:
\nPiano Suite \u2013 AW<\/em>Side 2:
\nSonata No. 7 opus. 103 \u2013 Serge Prokofiev<\/em>
\n<\/em>33 1\/3 disc
\nGolden Crest Records: Huntington Station, NY
\nGolden Crest recital series: RE-7058
\nPhotos by Louis Ouzer
\nLiner notes by James W. Baskin and AW<\/td>\n<\/tr>\n
folder 44<\/strong><\/td>\nTacet for neurotics \u2013 The music of Alec Wilder<\/em>
\n<\/em>Lowe and his orchestra
\n<\/em>Side 1:<\/p>\n
    \n
  1. Suggestion for bored dancers<\/em><\/li>\n
  2. She never wore makeup<\/em><\/li>\n
  3. What happened last night?<\/em><\/li>\n
  4. Walk softly<\/em><\/li>\n
  5. Let\u2019s get together and cry<\/em><\/li>\n
  6. Mama never dug this scene<\/em><\/li>\n<\/ol>\n

    Side 2:<\/p>\n

      \n
    1. Pop, what\u2019s a passacaglia?<\/em><\/li>\n
    2. No plans<\/em><\/li>\n
    3. The endless quest<\/em><\/li>\n
    4. Around the world in 2:34<\/em><\/li>\n
    5. An unrelenting memory<\/em><\/li>\n
    6. Tacet for neurotics<\/em><\/li>\n<\/ol>\n

      33 1\/3 Disc
      \nOffbeat Records produced by Bill Grauer Productions: New York, NY
      \nOffbeat OLP 3010
      \nProduced by Orrin Keepnews and Bill Grauer; recording engineer, Jack Higgins; album design: Ken Deardoff; back-liner photograph: Lawrence Shustack
      \nLiner note by Frank Sinatra
      \n<\/em>Provenance: Gunther Schuller<\/p>\n<\/td>\n<\/tr>\n

folder 45<\/strong><\/td>\nTo: Alec Wilder and the world: songs by Alec Wilder<\/em>
\n<\/em>Shannon Bolin, voice; Milton Kaye, piano Side 1:<\/p>\n
    \n
  1. Songs for Patricia<\/em> (Norman Rosten)<\/li>\n
  2. Four children\u2019s songs<\/em>\n
      \n
    1. The Golux\u2019s song<\/em> (James Thurber)<\/li>\n
    2. The elephant present<\/em> (William Engvick)<\/li>\n
    3. The telephone book lullaby<\/em> (Alec Wilder)<\/li>\n
    4. The answers<\/em> (Frank Etherton)<\/li>\n<\/ol>\n<\/li>\n
    5. The plowman<\/em><\/li>\n<\/ol>\n

      Side 2:<\/p>\n

        \n
      1. Pied Beauty<\/em> (Gerard Manley Hopkins)<\/li>\n
      2. The rose on the wind<\/em> (James Stephens)<\/li>\n
      3. Margaret<\/em> (Gerard Manley Hopkins)<\/li>\n
      4. The Coleen<\/em> (James Stephens)<\/li>\n
      5. A little love song<\/em> (Brandley Saunders)<\/li>\n
      6. Chick Lorimer<\/em> (Carl Sandburg)<\/li>\n
      7. Did you ever cross over to Sneden\u2019s<\/em> (Alec Wilder)<\/li>\n
      8. River run<\/em> (Marshall Barer)<\/li>\n
      9. While we\u2019re young<\/em> (with Morty Palitz, William Engvick)<\/li>\n<\/ol>\n

        33 1\/3 Disc
        \nGolden Crest Records: Huntington Station, NY
        \nGolden Crest recital series: RE-7079
        \nLiner notes by Shannon Bolin and Milton Kaye
        \nIn ink on back of album jacket, \u201cFor one of very few [?] loved over Marian M. Alec Wilder\u201d<\/p>\n<\/td>\n<\/tr>\n

folder 46<\/strong><\/td>\nThe New York woodwind quintet plays Alec Wilder
\n<\/em>Samuel Baron, flute; Jerome Roth, oboe; David Glazer, clarinet; John Barrows, horn; Arthur Weisberg, bassoonSide 1:
\nWoodwind quintet no. 3<\/em>
\nAllegro fugato
\n<\/em>\u00a0In chorale style
\n<\/em>Allegro scherzando
\n<\/em>Andante \u2013 allegro<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Side 2:
\nWoodwind quintet no. 4<\/em>
\nAndante cantabile<\/em>
\nAllegro energico<\/em>
\nAllegro<\/em>
\nSlowly, with warmth and intensity<\/em>
\nWoodwind Quintet no. 6<\/em>
\nAllegro \u2013 Andante \u2013 March \u2013 Allegro giocoso<\/em>
\n<\/em>33 1\/3 disc
\nConcertapes, Inc.
\n<\/em>Monophonic; M1223
\nLiner notes by Samuel Baron<\/td>\n<\/tr>\n
folder 47<\/strong><\/td>\nThe New York Wind Quintet \u2013 Villa-Lobos, Alec Wilder
\n<\/em>Samuel Baron, flute; Jerome Roth, oboe; David Glazer, clarinet; John Barrows, horn; Bernard Garfield, bassoon
\n<\/em>Side 1:
\nVilla-Lobos
\nQuintette (en forme de CHOROS)<\/em>
\nBachianas Brasilieras No. 6 for flute and bassoon<\/em>
\nLargo<\/em>
\nFantasia<\/em>
\n<\/em>Side 2:
\nAlec Wilder
\nQuintet for woodwinds<\/em>
\nFreely – faster<\/em>
\nSlow<\/em>
\nUp tempo<\/em>
\nSlowly and heavily<\/em>
\nChoros (No. 2) for flute and clarinet
\n<\/em>33 1\/3 disc
\nPhilharmonia Records (PH-110)
\n<\/em>Liner notes by Ruth Zimmerman<\/td>\n<\/tr>\n
folder 48<\/strong><\/td>\nThe sand castle <\/em>[second copy]
\n<\/em>Composed and orchestrated by AW
\nOrchestra conducted by Samuel Baron
\n<\/em>From the major motion picture produced and directed by Jerome Hill
\nPicture distributed by Louis de Rochmont Associates, Inc.
\nPrelude<\/em>
\nVariations<\/em>
\nFacing east<\/em>
\nSwing music<\/em>
\nIncantation<\/em>
\nGolden knight<\/em>
\nLonely Seascape<\/em>
\nRagtime music<\/em>
\nLullaby<\/em>
\nFinale<\/em>
\n<\/em>33 1\/3 rpm
\nColumbia LP \u2013 CL 1455
\nLiner notes by Jerome Hill<\/td>\n<\/tr>\n
folder 49<\/strong><\/td>\nBarry Snyder plays Alec Wilder\u2019s suite for piano, Prokofiev 7th<\/sup> sonata<\/em> [second copy]
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/em>Barry Snyder, pianist Side 1:
\nPiano Suite \u2013 AW<\/em>Side 2:
\nSonata No. 7 opus. 103 \u2013 Serge Prokofiev
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>33 1\/3 disc
\nGolden Crest Records: Huntington Station, NY
\nGolden Crest recital series: RE-7058
\nPhotos by Louis Ouzer
\nLiner notes by James W. Baskin and AW<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1615479763036{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Sub-series 4: Cassettes<\/span><\/em><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nSongs of Alec Wilder<\/em>
\n<\/em>A birthday celebration of Alec Wilder\u2019s 90th<\/sup> and the Eastman School\u2019s 75th
\n<\/sup>July 30, 1997 \u2013 Kilbourn Hall
\nValerie Errante, soprano; Robert Wason, piano; Aleck Brinkman, double bass; Ken Meyer, guitar
\n<\/em>ESM\/CED Summer Concert Series (1997) cassette
\nDate on cassette reads 9\/14\/97Side A:
\nRiver Run<\/em>
\nIn the morning<\/em>
\nDefinition<\/em>
\nThe Coleen<\/em>
\nMargaret<\/em>
\nLake Isle of Innisfree<\/em>
\nThe covenant (if you are happy)<\/em>
\nThe plowman<\/em>
\nThe olive tree<\/em>
\nWhere do you go?<\/em>Side B:
\nListen to your heart<\/em>
\nBlackberry winter<\/em>
\nThe echoes of my life<\/em>
\nIt\u2019s a fine day for walkin\u2019 country style<\/em>
\nDon\u2019t deny<\/em>
\nThe winter of my discontent<\/em>
\nRemember my child<\/em>
\nA child is born<\/em> (Thad Jones)
\nThe wrong blues<\/em>
\nThe lady sings the blues<\/em>
\nMoon and sand<\/em> (Morty Palitz)
\nWhile we\u2019re young<\/em> (Morty Paltiz)
\nI\u2019ll be around
\n<\/em>Provenance: ESM\/CED<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nHer first party dress<\/em>
\n<\/em>Alec Wilder, piano
\nProvenance: Marian McPartland<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nThe truth about windmills<\/em><\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nBrass Quintet
\n<\/em>Provenance: Wilder tapes<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nAlec Wilder Program, April 1992
\nMichael Lasser, NPR radio program – Fascinatin’ Rhythm
\nProvenance: Michael Lasser<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nWilder interview 6\/8\/75<\/em><\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nWilder Octets
\nEddie Powell, flute; Mitch Miller, oboe; Jimmy Carroll, clarinet; Reggie Merrill, bass clarinet; Harold Goldser, bassoon; Walter Gross, harpsichord; Gary Gillis, drums; Frank Carroll, bass Side 1:<\/p>\n
    \n
  1. The Japanese sandman<\/em><\/li>\n
  2. Concerning etchings<\/em><\/li>\n
  3. Sweet Sue<\/em><\/li>\n
  4. Blue room<\/em><\/li>\n
  5. Walking home in spring<\/em><\/li>\n
  6. A debutante\u2019s diary<\/em><\/li>\n
  7. Sea fugue Mama<\/em><\/li>\n
  8. Neurotic goldfish <\/em>(complete)<\/li>\n<\/ol>\n<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\n\u201cThe spirit of \u201878\u201d: A few songs by Alec Wilder<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\n\u201cSand Castle\u201d in harmony
\n\u201cFor Milford\u201d written on cassette in ink<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1615479884702{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Sub-series 5: Videos<\/span><\/em><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n
folder 1<\/strong><\/td>\nPeople of Our Time: Mabel Mercer
\n<\/em>Introduction by Alec Wilder
\nNew York City, 1974
\nVHS Tape
\nCanadian Broadcasting
\nProvenance: Gary Gilfillan<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1615479916967{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Sub-series 6: Compact Discs<\/span><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 1″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1614877570357{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nIt\u2019s so peaceful in the country<\/em> [also contains Music till midnight <\/em>by Percy Faith]
\nMusic of AW and Jimmy van Heusen
\nMitch Miller, oboe and English horn
\nPercy Faith, conductor and arranger
\nRecorded in 1953
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Track 14 –<\/em> While we\u2019re young<\/em> (AW)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Track 15 \u2013 Goodbye John<\/em> (AW)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Track 16 \u2013 I\u2019ll be around<\/em> (AW)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Track 17 \u2013 It could happen to you<\/em> (van Heusen)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Track 18 \u2013 Imagination<\/em> (van Heusen)
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Track 19 \u2013 Love among the young<\/em> (AW)
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Track 20 \u2013 Moonlight becomes you<\/em> (van Heusen)Digitally remastered mono recording
\nConsists of previously released material originally recorded on analog equipment<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nThe truth about windmills<\/em>
\n<\/em>Burned CD<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\n\n

Centennial concert CD #1<\/p>\n

    \n
  1. Octet: It\u2019s silk, feel it<\/em><\/li>\n
  2. Octet: Such a tender night<\/em><\/li>\n
  3. Octet: Jack, this is my husband<\/em><\/li>\n
  4. Rex Reed talk<\/li>\n
  5. Gene Bertoncini (guitar) talk;
    \n\u00a0 \u00a0 \u00a0Winter of my discontent
    \n<\/em>\u00a0 \u00a0 \u00a0Baggage room blues<\/em><\/li>\n<\/ol>\n
      \n
    1. Sonata No. 1 for flute and piano<\/em><\/li>\n
    2. Did you ever cross over to Sneden\u2019s?<\/em><\/li>\n
    3. Vocalise No. 1<\/em><\/li>\n
    4. Blackberry winter<\/em><\/li>\n
    5. Aaron Gandy talk<\/li>\n
    6. The churkendoose<\/em><\/li>\n<\/ol>\n

      \u00a0<\/em>Provenance: Judy Bell, The Richmond Organization<\/p>\n<\/td>\n<\/tr>\n

folder 4<\/strong><\/td>\n\n

Centennial concert CD #2<\/p>\n

    \n
  1. Tom Hampson talk<\/li>\n
  2. Rex Reed talk<\/li>\n
  3. Aaron Gandy introduced Bill Engvick<\/li>\n
  4. The moon just winked at me; Daddy long legs<\/em><\/li>\n
  5. Footnote to a summer love<\/em> (clarinet solo)<\/li>\n
  6. Suite No. 1 for horn, tuba and piano<\/em><\/li>\n
  7. Rex Reed talk re. Jackie Cain<\/li>\n
  8. Mimosa and me<\/em><\/li>\n
  9. Moon and sand<\/em><\/li>\n
  10. Such a tender night\/While we\u2019re young<\/em><\/li>\n
  11. I\u2019ll be around <\/em>(Bill Mays, piano)<\/li>\n
  12. It\u2019s so peaceful in the country<\/em><\/li>\n
  13. Rex Reed talk<\/li>\n<\/ol>\n

    Provenance: Judy Bell, The Richmond Organization<\/p>\n<\/td>\n<\/tr>\n

folder 5<\/strong><\/td>\nThe real-great adventures of Terr\u2019ble Thompson Hero of Hist\u2019ry
\n<\/em>From Terr\u2019ble Thompson The Musical<\/em>
\n<\/em>Originally recorded in NY – 1955
\nBy Gene Deitch; music by AW; lyrics by Marshall Barer
\nMitch Miller Orchestra and Chorus feat. Art Carney
\nStory, Gene Deitch and William Bernal
\nProvenance: Gift of Gene Deitch (Prague, Czech Republic) March 2006<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nAlec Wilder: Suite for flute, oboe, bass & harpsichord (Baroque Suite)
\nJulie Johnson, flute; Carrie Vecchione, oboe; Rolf Erdahl, double bass; Gail Olszewski, harpsichord.
\nRecorded at Wild Sound Recording Studio, Minneapolis, MN; August 9, 2019.
\nProvenance: Oboe Bass! (Apple Valley, MN) [duo of Carrie Vecchione and Rolf Erdahl], June 2021.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1615480686986{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

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

[\/vc_column_text][vc_custom_heading text=”Box 1″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1614890034676{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 21<\/strong><\/td>\n\n

Correspondence donated by Glenn Bowen
\n<\/em>1965-78
\n65 documents: 69 pages and 23 postcards
\nIncludes:Biography of Alec Wilder by William Engvick dated November 1964 (5 pages)From: AW
\nTo: Glenn Bowen
\n[undated]
\n3 from N.Y.C., NY [postcards]
\n1 from Tempe, AZ [postcard]
\n[date illegible \u2013 1973?]
\nFrom Rochester, NY
\nNovember 23, 1967 \u2013 postmarked N.Y.C., NY [postcard]
\nNovember 21, 1968 \u2013 postmarked Miami, FL [postcard]
\nNovember 22, 1968 \u2013 postmarked Key West, FL [postcard]
\nNovember 22, 1968 \u2013 postmarked Key West, FL [postcard]
\nNovember 23, 1968 – postmarked Key West, FL [postcard]
\nNovember 23, 1968 – postmarked Key West, FL [postcard]
\nJab at Howard Hanson
\nNovember 23, 1968 – postmarked Key West, FL [postcard]
\nNovember 24, 1968 – postmarked Key West, FL [postcard]
\nNovember 24, 1968 – postmarked Key West, FL [postcard]
\nNovember 25, 1968 – postmarked Key West, FL [postcard]
\nNovember 25, 1968 – postmarked Key West, FL [postcard]
\nNovember 25, 1968 – postmarked Key West, FL [postcard]
\nNovember 25, 1968 – postmarked Key West, FL [postcard]
\nNovember 25, 1968 – postmarked Key West, FL [postcard]
\n[date illegible] 1968 – postmarked FL [postcard]
\nDecember 9, 1968 \u2013 postmarked N.Y.C., NY [postcard]
\nEmpty envelope [undated]From: Bill Engvick
\nTo: Mr. Bowen
\nJanuary 9, 1965
\nAW sketches sent to Bowen from Bill Engvick
\nAugust 25, 1965
\nList of AW composition dates according to Bill Engvick
\nSeptember 14, 1965
\nAdditional AW composition dates
\nOctober 1, 1965
\nAdditional AW composition dates. Expresses interest in Bowen\u2019s dissertation in WilderFrom: Glenn H. Bowen
\nTo: Mr. Paul Wittke, editor at G. Schirmer, Inc.
\nJune 26, 1966
\nRequesting permission to quote AW\u2019s Woodwind quintet no. 3<\/em> for his dissertation on AW\u2019s chamber music with clarinet From: Mr. Paul Wittke, editor at G. Schirmer, Inc
\nTo: Glenn H. Bowen
\nJuly 6, 1966
\nPermission granted to use quotes from AW\u2019s Woodwind Quintet No. 3<\/em> for Bowen\u2019s dissertation From: AW
\nTo: Glenn Bowen
\nJuly 15, 1966 \u2013 postmarked Milwaukee, WIS
\nOctober, 1966 \u2013 postmarked Chicago, IL
\nRequest from AW that he do a rough reading of the Suite for flute, clarinet and piano<\/em> and to ask the radio station for a tape of the trio for clarinet, horn and piano
\nDecember 5, 1966 \u2013 postmarked N.Y.C., NY
\nAW notes that to obtain copies of the Alto Concerto<\/em>, Bowen should contact Frank Battisti for the original score. Responds to Bowen\u2019s suggestion to shorten the canon and is willing to do so. From: Glenn Bowen
\nTo: Mr. Jerry Tarack
\nAugust 16, 1967
\nRequest for information on AW\u2019s Clarinet suite with <\/em>strings
\n<\/em>Tarack\u2019s response written in ink on back of letter (dated Sept 13, 1967)From: AW
\nTo: John Barrows
\nNovember 27, 1967 \u2013 postmarked NYC, NY [envelope only]From: Marion C. Bone
\nTo: Glenn Bowen
\nJune 1, 1968 \u2013 postmarked Washington D.C.
\nRequesting assistance for her own thesis project: an annotated bibliography of known Wilder worksFrom: Glenn Bowen
\nTo: Marion C. Bone
\nJuly 1, 1968 \u2013 postmarked Madison, WI From: AW
\nTo: Glenn Bowen
\nNovember 12, 1968 \u2013 postmarked West Palm Beach, FL
\nRequest for tapes
\nNovember 26, 1968 \u2013 postmarked Key West, FL
\nJanuary 3, 1969 \u2013 postmarked N.Y.C., NY
\nContains newspaper copyFrom: AW
\nTo: Glenn Bowen
\nSeptember 1, 1970 \u2013 postmarked Boston, MA [postcard]
\nAcknowledgement of receipt of tape<\/p>\n

From: Warren D. Harden
\nTo: Glenn H. Bowen
\nJuly 5, 1972
\nThanking him for sending AW materials \u2013 book reviews and program from the premiere performance of the euphonium concerto<\/p>\n

From: James G. Roy, Jr. \u2013 Assistant to Oliver Daniel, Concert music administration, Broadcast music Inc.
\nTo: AW
\nJuly 21, 1972
\nRequesting materials for use in his entry on AW for Grove\u2019s Dictionary of Music and Musicians<\/p>\n

From: Harvey Phillips
\nTo: Glenn Bowen
\nOctober 24, 1972
\nRequesting any assistance in having AW properly listed in Grove\u2019s Dictionary
\nIn pencil; note on document states that biography from Bowen dissertation was sent Nov. 1<\/p>\n

From: Glenn H. Bowen
\nTo: Valerie O\u2019Donaghue, Asst. Editor at The Instrumentalist
\n<\/em>January 3, 1973
\nRegarding submittal of MS and photographs<\/p>\n

From: Valerie O\u2019Donoghue, Asst. Editor at The Instrumentalist
\n<\/em>\u00a0<\/em>To: Glenn H. Bowen
\nJanuary 8, 1973 [postcard]
\nAcknowledgement of receipt of manuscript with 1 photograph<\/p>\n

From: Glenn Bowen
\nTo: F. F. Swift \u2013 Editor, Woodwind world
\n<\/em>March 2, 1973
\nSubmittal of material for potential publication in Woodwind world<\/p>\n

From: Glenn Bowen
\nTo: Warren Harden
\nApril 20, 1972
\nRe: Harden\u2019s undertaking of a study of AW\u2019s brass music<\/p>\n

From: AW
\nTo: Glenn Bowen
\nApril 26, 1973 \u2013 Rochester, NY [Envelope only]
\nMay 3, 1973 \u2013 Rochester, NY [Envelope only]
\nJune 3, 1973 \u2013 N.Y.C., NY
\nJune 27, 1973 \u2013 Rochester, NY
\nAW mentions an article written about himself in The New Yorker<\/em> from July 6, 1973. Also mentions that Mr. Whittaker secured him a small commission from Benny Beach.<\/p>\n

From: Glenn Bowen
\nTo: Marjory Hanson, project assistant in music, National Endowment for the Arts
\nJune 27, 1973
\nWriting in support of AW\u2019s application for a grant from the NEA<\/p>\n

From: AW
\nTo: Glenn Bowen
\nOctober 23, 1973 \u2013 N.Y.C., NY [envelope only]
\nFebruary 9, 1974 \u2013 N.Y.C., NY
\nAW thanking GB for commissioning a piece
\nJune 22, 1974 \u2013 Rochester, NY
\nOn the piece commissioned by GB [mentions flute, clarinet, bass clarinet]
\nNovember 9, 1975 \u2013 N.Y.C., NY
\nAW thanking GB for the tape and requesting more \u201caggressiveness\u201d in the first and third movements
\nJune 27, 1977 \u2013 Rochester, NY
\nAW on pieces that he has been writing since last December including: woodwind quintet with marimba (inspired by a performance AW heard of marimbist Gordon Stout), woodwind quintet for Art Dedrick (who ran Kendor music and wanted it for the Fredonia faculty quintet), also mentions the flute concerto and a piece for Morrice [sic] Secon in memory of John titled, \u201cJohn Barrows\u201d
\nNovember 7, 1977 \u2013 Key West, FL
\nDecember 5, 1977 \u2013 Key West, FL
\nAW glad that GB is playing \u201cthe duets\u201d<\/p>\n

From: Glenn Bowen
\nTo: AW
\nJanuary 9, 1978
\nQuestions on notes for the \u201cnew clarinet duets\u201d GB intends to perform in recital with the clarinet teacher at Lawrence University (Appleton)
\nIn pencil; AW notes throughout page<\/p>\n

From: AW
\nTo: Glenn Bowen
\n[no envelope, postage date or place]
\nAW praise of quintet performance, thanks Nancy and Dick for performing his duets and mentions his new, in progress orchestra piece he intends to title Music for old fashioned listeners #97<\/em><\/p>\n

From: AW
\nTo: AW
\n[undated] \u2013 N.Y.C., NY [envelope only]<\/p>\n

Alec Wilder: Contemporary American Composer
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A descriptive study in two parts
\nBy Ms. Bone \u2013 submitted for M. Mus Ed. To the faculty of The Catholic University of America (April 1, 1968)
\nTyped; 2 page outline<\/p>\n

Taped interviews with song writers conducted by AW and\/or James T. Maher
\nList of 12 interviews<\/p>\n

From: Glenn Bowen
\nTo: Desmond
\n[undated]
\nGB noticed faint writing in the back of a book from AW that he recognized as a draft of AW\u2019s comments for the record \u201cTribute to John Barrows\u201d
\nXerox of draft on back of letter
\nProvenance: Glenn Bowen<\/p>\n<\/td>\n<\/tr>\n

folder 2<\/strong><\/td>\n\n

Correspondence donated by Marian McPartland<\/em>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/em><\/p>\n

From: AW
\nTo: Edward
\n[undated]
\nPhotocopy; 3 pages<\/p>\n

From: Ned
\nTo: Marion From: Ned
\nFebruary 20, 1981
\nOn a meeting between AW friends on February 16, 1981 [after AW\u2019s passing] possibly involving a concert and small gathering for dinner at the Manhattan
\nIn ink; 3 pages<\/p>\n

From: Marion McPartland
\nTo: Mary Wallace Davidson
\nFebruary 7, 1991
\nMarion McPartland sent along a letter from AW to Bill Hay about AW\u2019s radio series as well as a piece from The New Yorker
\n<\/em>In ink; 2 pages<\/p>\n

Note in folder from February 12, 1994 notes the removal of an undated letter from AW to Bill Hay
\n2 pages<\/p>\n<\/td>\n<\/tr>\n

folder 3<\/strong><\/td>\nTo: Allen Kelly<\/em>
\n<\/em>From: AW
\n<\/em>January 12, 1970 \u2013 George Town, Grand Cayman
\nPhotocopy; 2 pages August 24, 1976 \u2013 N.Y.C., NY
\nPhotocopy; 1 page August 9, 1977 \u2013 Boston, MA
\nPhotocopy; 1 page May 2, 1978 – Rochester, NY
\nPhotocopy; 2 pages\u00a0 February 8, 1980 \u2013 Rochester, NY
\nPhotocopy; 2 pages<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nTo: Jackie and Roy Kral<\/em>
\n<\/em>From: AW<\/em>
\n<\/em>July 5, 1955
\nAW mentions finding songs for the Krals who are interested in making an album; also mentions the performance of his opera [no title mentioned] directed by Rogers and written by AW and Bill Engvick
\nPhotocopy; 3 pages May 7, 1983 [must have meant 1973]
\nLetter AW sent to the Krals after the sudden death of their daughter Nicky on May 3, 1973; second page is a copy of what AW wrote for them to place under a sturdy shell on the beach at Fire Island where they took Nicky\u2019s ashes.
\nPhotocopy; 2 pages<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nCorrespondence re: \u201cAmerican Popular Song\u201d
\n<\/em>1969-June 1971
\n<\/em>66 documents, 99 pages
\nContains letters and legal documents pertinent to formation of the book \u201cAmerican Popular Song\u201d <\/em>including various negotiations and Licenses of Print Rights for musical examples
\nIncludes letters involving Shelden Meyer, Executive Editor Trade Books; James T Maher; Harvey G. Phillips; Philip B. Wattenberg \u2013 Wattenberg & Wattenberg Attorneys and Counsellors; Mr. Joseph Taubman \u2013 Rubin, Watchel, Baum & Levin; John McKelle, – copyright department, MCA Music; Etta S. Laufer \u2013 copyright department, Edwin H. Morris & Company, Inc.; Herbert E. Marks \u2013 President, Edward B. Marks Music Corporation; J. M. Meade \u2013 Jerry Vogel Music Company, Inc.
\nProvenance: Maureen Meloy<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nCorrespondence re: \u201cAmerican Popular Song\u201d <\/em>
\n<\/em>July-September 1971
\n<\/em>98 documents, 117 pages
\nContains letters and legal documents pertinent to formation of the book \u201cAmerican Popular Song\u201d <\/em>including various negotiations and Licenses of Print Rights for musical examples
\nIncludes letters involving James T Maher; Harvey G. Phillips; Mr. Joseph Taubman \u2013 Rubin, Watchel, Baum & Levin; Miriam Stern, Burke & Van Heusen, Inc.; Irving Caesar, publisher \u2013 Production and popular music; Philip B. Wattenberg \u2013 Wattenberg & Wattenberg Attorneys and Counsellors; Gloria Thorner \u2013 secretary to Herbert E. Marks -Edward B. Marks Music Corporation; Herbert E. Marks \u2013 President, Edward B. Marks Music Corporation; Harry Gerson and Etta S. Laufer, copyright department – Edwin H. Morris & Company, Inc.; Paul Weirick, vice president\/general manager \u2013 T. B. Harms Company; Norman Odlum, Director\/copyright admin \u2013 Sesac, Inc.; Edward J. Slattery \u2013 Robbins Music Corporation Publishers; Elizabeth B. Montei \u2013 Beechwood Music Corporation; Marie Garbarine \u2013 World Music, Inc.; Sidney Herman, vice president \u2013 Famous Music Publishing Companies; Carl Michaelson, copyright division \u2013 G, Schirmer, Inc.; Donald Kahn \u2013 Gus Kahn Music Company; Adele Z. Sandler, copyright department \u2013 Bourne Music Publishers Co.; Burton L. Litwin, director of business affairs \u2013 Belwin Mills Publishing Corp.; Sol parker \u2013 Sands Music Corp.; Ed Marmor \u2013 E.D.M. Music Publishers; Michael H. Goldsen \u2013 Criterion Music Corporation; Jay Mark, vice president to copyright control \u2013 The Richmond Organization (TRO); Jay Morgenstern, executive vice president \u2013 Metromedia Music, Inc.; Paul Barry, vice-president \u2013 Twentieth century music corporation; Ruth Engelhardt, attorney; Milton Kramer \u2013 Carmichael Music Publications, Inc, Saunders Publication, Inc., and Frank Music Corp.; Fay Zucker, copyright department \u2013 Frank Music Corp.; Thomas R. Levy, resident counsel \u2013 The Aberbach Group; Murray Bass, vice-president \u2013 Hansen Publications; J. M. Meade \u2013 Jerry Vogel Music Company, Inc.
\nProvenance: Maureen Meloy<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nCorrespondence re: \u201cAmerican Popular Song\u201d
\n<\/em>October 1971
\n58 documents, 159 pages
\nIncludes letters involving Sheldon Meyer, Executive editor Oxford University Press; Bonnie Bourne \u2013 Bourne Music Company; Maureen Meloy, for Alec Wilder; Mr. Joseph Taubman \u2013 Rubin, Watchel, Baum & Levin; James T. Maher; Mr. Jerry Vogel \u2013 Jerry Vogel Music Company, Inc.; Harry Gerson \u2013 Edwin H. Morris & Company, Inc.; Sidney Herman, vice president \u2013 Famous music publishing Companies; Murray Bass, vice president \u2013 Hansen publications; Paul Barry, vice president \u2013 Twentieth century music corporation; Michael H. Goldsen \u2013 Criterion Music Corporation; Tommy Volando \u2013 Volando Music, Inc.; Sol Parker \u2013 Sands Music Corp.; Fay Zucker, copyright department \u2013 Saunders Publications, Inc., Carmichael Music Publications, Inc., and Frank Music Corp.; Robert C. Haring, editor and editorial director \u2013 Shapiro, Bernstein & Co., Inc.; William Handy \u2013 Handy Brothers Music, Co.; Thomas R. Levy \u2013 The Aberbach group; Sidney Herman, vice president \u2013 Famous Music Publishing Companies; Mario Conti \u2013 Peer International Corporation
\nAlso includes running list of musical examples in each chapter, publisher and permission status
\nProvenance: Maureen Meloy<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nCorrespondence re: \u201cAmerican Popular Song\u201d
\n<\/em>November \u2013 December 1971
\n69 documents, 101 pages
\nProvenance: Maureen Meloy<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nCorrespondence re: \u201cAmerican Popular Song\u201d
\n<\/em>January \u2013 May 1972
\n69 documents, 90 pages
\nProvenance: Joseph Taubman<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nAvon Foundation
\n<\/em>Correspondence concerning research grant for American Popular Song
\n<\/em>1967-1969
\n70 documents, 110 pages
\nIncludes research grant proposal, research cost estimate, notification of authorization of grant, matters of payment, Avon Project Status report, etc.
\nProvenance: Maureen Meloy<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nAvon Foundation
\n<\/em>1969-1971
\n<\/em>61 documents, 87 pages
\nIncludes estimated expenses, Progress report, Lists of titles cited\/analyzed, list of copyright materials used in manuscript, summary of income and expense forms from New England Conservatory, documents regarding early negotiations for a contract with Oxford University Press for AW\u2019s book, \u201cAmerican Popular Song\u201d<\/em>
\n<\/em>Provenance: Maureen Meloy<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nCarl Fischer, Inc.<\/em>
\n<\/em>November 12, 1968
\n1 page
\nLetter from Eric von der Goltz, Vice-President \u2013 Carl Fischer, Inc. to Joseph Taubman, Esq. regarding AW requests for all copies on hand of \u201cChick Lorimer\u201d
\n<\/em>Provenance: Gift of Joseph Taubman<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nThe impossible forest and other works<\/em>
\n<\/em>1967-1968
\n4 letters; 8 pages
\nLetters pertaining to an unauthorized production of the opera \u201cThe impossible forest\u201d <\/em>to which AW called on his attorney, Joseph Taubman, to dissolve.
\n<\/em>Provenance: Gift of Joseph Taubman<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nInterview tape by Arnold Shaw<\/em>
\n<\/em>1970
\n4 documents, 14 pages
\nInterview with AW regarding Mabel Mercer, interview conducted by Arnold Shaw
\nProvenance: Gift of Joseph Taubman<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nPresident Nixon\u2019s letter to Milford Fargo<\/em>
\n<\/em>March 22, 1971
\n2 pages
\nLetter from President Nixon to Milford Fargo regarding recording of AW\u2019s \u201cChildren\u2019s Plea for Peace\u201d
\n<\/em>2 photocopies of the original<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 2″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615483187786{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\n\n

Undated correspondence<\/em><\/p>\n

Petition to the trustees of the University of Rochester
\nTyped; one page<\/p>\n

From AW
\nTo: \u00a0Dr. James Sibley Watson, Jr. (J. S. Watson, Jr.):
\nTiny card in envelope \u2013 undated
\n[undated letter] \u2013 no envelope
\nAW upset by Mr. Seigel \u2013 on AW\u2019s own philosophy of composing with as little analysis as possible
\n[undated letter] \u2013 no postmark
\nInvitation to performance of AW opera in Kilbourn Hall on Sunday October 14th<\/sup> after performance in Avon
\nWritten on Algonquin Hotel stationery
\n[undated letter] \u2013 no postmark
\nEnvelope from Sagamore Hotel \u2013 Rochester, NY<\/p>\n

From: AW
\nTo: Hildegarde Watson
\nUndated, no envelope<\/p>\n

From: AW [?]
\nTo: Augusta Macomber
\nValentine card in envelope<\/p>\n

From: \u201cThe peach tree\u201d E. + Dr. [Dr. Harry Segal and his wife Evelyn?]
\nTo: Dr. and Mrs. J. S. Sibley Watson, Jr.
\n\u201cKindness of Mary Verhagen\u201d [?] written on envelope
\nOn reverse, card reads \u201con this date August 28, 1976<\/p>\n

From: Arnold [Sundgaard?]
\nTo: AW?
\nMissing first page<\/p>\n

From: AW
\nTo: Bill Briggs
\n[undated letter] Applauding Briggs\u2019 performance as Mr. Lawson<\/p>\n

[undated letter] Envelope addressed to John Maloy, Esq. noting to deliver the letter to Bill Briggs. Letter again applauding Briggs\u2019 baritone roll as Mr. Lawson
\nProvenance: Madge Briggs, widow of Wm. F Briggs MM \u201858<\/p>\n

From: Unknown
\nTo: AW
\nAppears to be voting tally with name and point rating of various pieces, accompanied by manila envelope addressed to AW
\nContains votes from George Oppenheimer, Emory Lewis, Gottfried, Simon, Watts, A. Kroll, Leo Mishkin, John Lahn, Herves, John Beaufont, Glover\u2026etc. [some names not legible]<\/p>\n<\/td>\n<\/tr>\n

folder 2<\/strong><\/td>\n\n

1930s correspondence<\/em>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/em><\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nOctober 13, 1930 \u2013 postmarked NYC, NY<\/p>\n

From: Howard Hanson
\nTo: AW
\nJanuary 29, 1931 \u2013 postmarked Rochester, NY<\/p>\n

From: AW
\nTo: Mrs. J. S. Watson
\nMarch 5, 1931 \u2013 postmarked Rochester, NY<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nJune 2, 1933 \u2013 [envelope only]
\nJune 8, 1937 (postcard) \u2013 postmarked Rochester, NY
\nMarch 2, 1939 \u2013 postmarked N.Y.C., NY
\nMarch 3, 1939 \u2013 postmarked N.Y.C., NY
\nMay 20, 1939 \u2013 postmarked NYC, NY
\nAugust 11, 1939 \u2013 postmarked NYC, NY
\nSeptember 11, 1939 \u2013 postmarked NYC, NY
\nOctober 17, 1939 – postmarked NYC, NY
\nDecember 29, 1939 – postmarked NYC, NY<\/p>\n

From: George
\nTo: AW
\nFeb 21, 1938
\nIn ink; 1 page
\nIncludes 2 photocopies<\/p>\n

From: AW
\nTo: unknown
\n1939
\nIn ink; 2 pages<\/p>\n<\/td>\n<\/tr>\n

folder 21<\/strong><\/td>\n\n

1940s correspondence<\/em><\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nMay 9, 1940 \u2013 postmarked N.Y.C., NY
\nMay 16, 1940 \u2013 postmarked Rochester, NY
\nJuly 25, 1940 \u2013 postmarked N.Y.C., NY
\nOctober 6, 1940 \u2013 postmarked Troy, NY<\/p>\n

From: AW
\nTo: Miss Helen Moore
\nJuly 23, 1941 \u2013 [no envelope, 2 photocopies]
\nWritten on Josef Schiff photography stationery
\nLetter on AW\u2019s election of Louis Ouzer as super-president of The Bulletin Board<\/em><\/p>\n

From: Louis Ouzer
\nTo: Miss Helen Moore
\nJuly 23, 1941 \u2013 [no envelope, 3 photocopies]
\nWritten on Josef Schiff photography stationery
\nLetter on the upcoming report of company books
\nAugust 22, 1941 \u2013 [no envelope, 2 photocopies]
\nOn the play reports of AW\u2019s music and on appointing Mitch Miller to the staff
\nA Thursday in late 1941 \u2013 [no envelope, 1 photocopy]
\nLetter about September 3, 1941<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nJuly 13, 1942 \u2013 postmarked N.Y.C., NY
\nApril 7, 1943 – postmarked N.Y.C., NY
\nJune 14, 1943 – postmarked N.Y.C., NY<\/p>\n

From: Dennis Jordan M.D.
\nTo: Dr. J. S. Watson, Jr.
\nDec 7, 1943 [?] \u2013 Toronto, ON<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nJune 30, 1943 – postmarked N.Y.C., NY
\nJuly 15, 1943 – postmarked N.Y.C., NY
\nAugust 24, 1943 – postmarked N.Y.C., NY
\nAugust 31, 1943 – postmarked N.Y.C., NY
\nJune 14, 1946 – postmarked N.Y.C., NY
\nOctober 21, 1946 – postmarked N.Y.C., NY
\nApril 29, 1947 – postmarked N.Y.C., NY
\nAugust 12, 1947 – postmarked N.Y.C., NY
\nNovember 24, 1947 – postmarked N.Y.C., NY
\nFebruary 17, 1948 – postmarked N.Y.C., NY
\nMentions work on a one act children\u2019s opera
\n30, July 1948 – postmarked N.Y.C., NY
\nDecember 6, 1948 – postmarked Rochester, NY
\nNovember 2, 1949 – postmarked N.Y.C., NY<\/p>\n<\/td>\n<\/tr>\n

folder 4<\/strong><\/td>\n\n

1950s correspondence<\/em><\/p>\n

From: AW
\nTo: Dr. J. S. Watson, Jr.<\/p>\n

January 5, 1950 \u2013postmarked N.Y.C., NY<\/p>\n

Mentions opera \u2013 costumes and sets to be done by Lemuel Ayers and Jerome Robbins doing the staging and dances, meeting Henry Fonda that afternoon<\/p>\n

February 1, 1952 \u2013 postmarked Los Angeles, CA<\/p>\n

From: Walter
\nTo: Higgs (Hildegarde Watson?)
\nOctober 18, 1954 \u2013 Boston, MA<\/p>\n

From: Aunt Mary
\nTo: Hildegarde Watson
\nJune 8, 1955<\/p>\n

From: AW
\nTo: Dr. J. S. Watson, Jr.<\/p>\n

January 29, 1958 \u2013 postmarked Rochester, NY
\nChapter headings I
\nIncludes photocopy<\/p>\n

January 29, 1958 \u2013 postmarked Rochester, NY
\nChapter headings II
\nIncludes photocopy
\nFebruary 23, 1958 \u2013 postmarked Key West, FL<\/p>\n<\/td>\n<\/tr>\n

folder 5<\/strong><\/td>\n\n

1960s correspondence<\/em><\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nDecember 13, 1960 \u2013 postmarked Rochester, NY
\nIncludes photocopy
\n[June?] 1961 \u2013 postmarked Michigan
\nOctober 8, 1961 \u2013 postmarked Rochester, NY<\/p>\n

\u201cConfession number one\u201d
\nOctober 9, 1961 \u2013 postmarked Rochester, NY<\/p>\n

“Confession number two\u201d
\nOctober 9, 1961 \u2013 postmarked Rochester, NY<\/p>\n

\u201cConfession number three\u201d
\nOctober 9, 1961 \u2013 postmarked N.Y.C., NY<\/p>\n

\u201cConfession number four\u201d
\nOctober 10, 1961 – postmarked N.Y.C., NY<\/p>\n

\u201cConfession number five\u201d
\nOctober 14, 1961 \u2013 postmarked West Palm Beach, FL<\/p>\n

\u201cConfession number six\u201d
\nOctober 18, 1961- postmarked West Palm Beach, FL<\/p>\n

\u201cConfession number seven\u201d
\nOctober 19, 1961 \u2013 postmarked New Orleans, LA<\/p>\n

\u201cConfession number eight\u201d
\nWilling to take risks, willing to be a neoclassical
\nOctober 20, 1961 \u2013 postmarked Memphis, TN<\/p>\n

\u201cConfession number nine\u201d
\nOctober 20, 1961 – postmarked Memphis, TN<\/p>\n

\u201cConfession number ten\u201d
\nOctober 20, 1961 \u2013 postmarked Hot Spring Nat\u2019l Park, ARK<\/p>\n

\u201cConfession number eleven\u201d
\nOctober 31, 1961 \u2013 postmarked Boston, MA<\/p>\n

\u201cConfession number twelve\u201d
\nNovember 6, 1961 – postmarked N.Y.C., NY<\/p>\n

\u201cConfession number thirteen\u201d
\nDecember 9, 1961 – postmarked N.Y.C., NY<\/p>\n

From: Meriline Williams
\nTo: AW
\nMarch 28, 1962 \u2013 Brunswick, GA [no envelope]<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nMarch 29, 1962 – postmarked N.Y.C., NY
\nApril 11, 1962 – postmarked Key West, FL<\/p>\n

From: J. S. Watson, Jr.
\nTo: AW
\nApril 15, 1962 [no envelope]<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\n[Illegible] 1964 \u2013 postmarked Rochester, NY
\nJune 23, 1964 \u2013 postmarked Scottsdale, AZ
\nSeptember 19, 1964 \u2013 postmarked N.Y.C., NY
\nOctober 10, 1964 \u2013 postmarked N.Y.C., NY
\nNovember 21, 1964 \u2013 postmarked Los Angeles, CA
\nMarch 2, 1965 – postmarked Key West, FL
\nMarch 13, 1965 – postmarked Key West, FL
\nJuly 7, 1965 \u2013 postmarked Rochester, NY
\nLetter about 167 poems which arrived by mail Aug 14
\nAugust 16, 1965 \u2013 postmarked Washington, D.C.<\/p>\n

From: George B. Baker, a bellboy at the Algonquin Hotel in N.Y.
\nTo: J. S Watson, Jr.
\nSeptember 7, 1965
\nRe: Baker\u2019s poems<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nJanuary 6, 1966 \u2013 postmarked Key West, FL
\nJanuary 9, 1966 \u2013 postmarked Key West, FL<\/p>\n

From: J. S. Watson, Jr.
\nTo: AW
\nJanuary 10, 1966
\nOn AW\u2019s poetry<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nFebruary 7, 1966 \u2013 postmarked NYC, NY
\nMarch 3, 1966 \u2013 postmarked Key West, FL<\/p>\n

From: Arlene Bouras
\nTo: J. S. Watson, Jr.
\nApril 19, 1966 \u2013 Chicago, IL<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nApril 27, 1966 \u2013 N.Y.C., NY
\nApril 27, 1966 \u2013 postmarked N.Y.C., NY
\nOctober 16, 1966 \u2013 postmarked N.Y.C., NY
\nDecember 6, 1966\u2013 postmarked N.Y.C., NY
\nJanuary 18, 1967 – postmarked N.Y.C., NY<\/p>\n

From: AW
\nTo: Hildegarde Watson
\nFebruary 6, 1967 \u2013 postmarked N.Y.C., NY<\/p>\n

From: AW
\nTo: J. S. Watson, Jr
\nNovember 5, 1967 – postmarked N.Y.C., NY
\nNovember 9, 1967 – postmarked N.Y.C., NY
\nLetter w\/out envelope 1967 or 68?
\nMarch 23, 1968 \u2013 postmarked Miami, FL
\nApril 3, 1968 \u2013 postmarked Madison, Wisc.<\/p>\n

From: J. S. Watson
\nTo: AW
\n1968 \u2013 [no envelope]
\nLetter re: poems
\nCard from S.W. \u00a0\u2013 1968<\/p>\n

From: AW
\nTo: Hildegarde Watson
\nSeptember 14, 1969 – postmarked N.Y.C., NY
\nSeptember 14, 1969 – postmarked N.Y.C., NY<\/p>\n<\/td>\n<\/tr>\n

folder 6<\/strong><\/td>\n\n

1970-1973 correspondence<\/em><\/p>\n

From: J. S. Watson, Jr.
\nTo: AW
\n[1970?] \u2013 [no envelope]<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\n[undated] \u2013 envelope w\/out postmark
\n[1970?] \u2013 [no envelope]<\/p>\n

From: AW
\nTo: Hildegarde Watson:|
\nJanuary 22, 1970 \u2013 postmarked Rochester, NY
\nAccompanied by list of questions for JSW<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nFebruary 2, 1970 \u2013 postmarked N.Y.C., NY
\nOn Algonquin Hotel stationery; 2 pages
\nJuly 11, 1970 \u2013 Winter Park, FL
\nTelegram<\/p>\n

From: Aleck
\nTo: J. S. Watson, Jr.
\nJuly 5, 1970
\nContains radiologist\u2019s diagnosis from June 30<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nAugust 11, 1970 \u2013 postmarked N.Y.C., NY
\nOn Algonquin Hotel stationery; 2 pages
\nSeptember 14, 1970 \u2013 postmarked N.Y.C., NY
\nFollowed by note of monetary gift from JSW Jr.
\nSeptember 30, 1970 – postmarked Rochester, NY
\nOctober 4, 1970 \u2013 postmarked Rochester, NY
\nNovember 16, 1970 – postmarked N.Y.C., NY
\nDecember 22, 1970 \u2013 postmarked Key West, FL
\nJanuary 11, 1971\u2013 postmarked N.Y.C., NY<\/p>\n

From: J. S. Watson, Jr.
\nTo: AW
\n[undated] \u2013 [no envelope]
\nResponse to AW letter of January 11, 1971<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\n[undated] \u2013 [no envelope]
\nJanuary 25, 1971 \u2013 postmarked Rochester, NY
\nFebruary 2, 1971 \u2013 postmarked Rochester, NY
\nJuly 7, 1971 \u2013 postmarked Key West, FL
\n[2 letters undated] 1972
\nMay 3, 1972 \u2013 postmarked Key West, FL
\nMay 31, 1972 \u2013 postmarked Boston, MA
\nJune 1, 1972 \u2013 postmarked Boston, MA
\n2 letters dated January 1 included w\/envelope
\n[1972 \u2013 w\/out envelope]
\nJuly 4, 1972 \u2013 postmarked N.Y.C., NY
\nComments on the trio for clarinet, bassoon and piano
\nFinishing suites for flute choir, brass quintet and then will work on sonata for viola, French horn and piano
\nAugust 16, 1972 \u2013 postmarked N.Y.C., NY
\nPostcard
\nOctober 19, 1972 \u2013 postmarked U.S.P.S. NY 144
\nNovember 1, 1972 \u2013 postmarked U.S.P.S. NY 144
\nMentions return to Rochester that Tuesday
\nNovember 9, 1972 \u2013 postmarked U.S.P.S. NY 144
\nNovember 13, 1972 \u2013 postmarked U.S.P.S. NY 144
\nNovember 13, 1972 \u2013 postmarked U.S.P.S. NY 144
\nPostcard
\nNovember 20, 1972
\nMentions Loonis McGlohon\u2019s setting of Love Song <\/em>to music
\nDecember 1, 1972\u2013 postmarked U.S.P.S. MA 012
\nDecember 4, 1972 \u2013 postmarked U.S.P.S. NY 144
\nMore on the trio for clarinet, bassoon and piano
\nFebruary 3, 1973\u2013 postmarked U.S.P.S. NY 144
\nOn the plot and beginnings of The Truth about Windmills
\n<\/em>February 15, 1973\u2013 postmarked U.S.P.S. NY 144
\nAW\u2019s thoughts on being awarded an honorary doctorate from University of Rochester
\nFebruary 27, 1973 \u2013 postmarked U.S.P.S. NY 144
\nAW agonizing on whether to accept honorary degree<\/p>\n

From: J. S. Watson, Jr.
\nTo: Lucille
\n[March 20, 1973 \u2013 w\/out envelope]
\nCondolences for the loss of Aleck from long illness<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nMay 6, 1973 \u2013 postmarked Rochester, NY
\nRequesting monetary assistance on The Truth about Windmills<\/em>. Includes details of plot, performance plans and est. budget
\nMay 8, 1973 \u2013 postmarked U.S.P.S. NY 144
\nThanks you letter for offer from JSW to fund The Truth about Windmills
\n<\/em>June 12, 1973\u2013 postmarked N.Y.C., NY
\nAW on the honorary doctorate ceremony
\nSeptember 10, 1973 \u2013 postmarked U.S.P.S. NY 144
\nOctober 2, 1973 \u2013 postmarked U.S.P.S. NY 144
\nOctober 4, 1973 \u2013 postmarked U.S.P.S. NY 144
\nDecember 4, 1973 \u2013 postmarked U.S.P.S. NY 144
\nMentions selling book of letters to Little, Brown<\/p>\n

From: unknown [J. S. Watson, Jr.?]
\nTo: unknown
\n[1973]
\n\u201cAfter the eleven flutes, why not a tune for bagpipe..?\u201d<\/p>\n<\/td>\n<\/tr>\n

folder 7<\/strong><\/td>\n\n

1974-1975 correspondence<\/em><\/p>\n

From: AW
\nTo: Hildegarde Watson:
\nJanuary 20, 1974 \u2013 postmarked Rochester, NY<\/p>\n

From: AW
\nTo: J. S. Watson, Jr:
\nMay 20, 1974 \u2013 postmarked U.S.P.S. NY 144
\nMay 31, 1974 \u2013 postmarked U.S.P.S. NY 144
\nAW on his inability to compose and intention to pay back the
\nfederal grant received. Upset by recent passing of John Barrows
\nJuly 2, 1974 \u2013 postmarked U.S.P.S. NY 144
\nJuly 10, 1974 \u2013 postmarked N.Y.C., NY
\nAugust 10, 1974 \u2013 postmarked U.S.P.S. NY 144
\nSeptember 14, 1974 \u2013 postmarked U.S.P.S. NY 144
\nAW on inability to compose, having a hard time in general, esp. without encouragement of John Barrows. Mentions the upcoming publication of Letter I never mailed
\n<\/em>September 14, 1974 \u2013 postmarked N.Y.C., NY
\nWritten on Algonquin Hotel stationery
\nSeptember 25, 1974 \u2013 postmark illegible
\nAW writes of his few moments of inspiration, fears
\nSeptember 26, 1974 \u2013 postmarked U.S.P.S. NY 144
\nOn AW\u2019s intention to pay back the CMA for the grant to write an orchestral work for the Rochester Philharmonic
\nSeptember 30, 1974 \u2013 postmarked N.Y.C., NY
\nWritten on Algonquin Hotel stationery
\nAW\u2019s plans to go to Santa Catalina Island
\nOctober 14, 1974 – postmark illegible
\nOctober 16, 1974 \u2013 postmarked U.S.P.S. NY 144
\nAW\u2019s decision to write the orchestra piece with the grant fund
\nIn ink; 4 pages
\nOctober 16, 1974 \u2013 postmarked U.S.P.S. NY 144
\nIn ink; 1 page
\nOctober 27, 1974 \u2013 postmarked U.S.P.S. NY 144<\/p>\n

From: AW
\nTo: Hildegarde Watson:
\nNovember 5, 1971? Or 74? \u2013 postmarked San Francisco, CA
\nWritten on Sheraton Palace stationery<\/p>\n

From: AW
\nTo: J. S. Watson, Jr:
\n1975
\nJanuary 13, 1975 \u2013 postmarked N.Y.C., NY
\nSuite for old fashioned listeners #97
\n<\/em>January 31, 1975 \u2013 postmarked N.Y.C., NY
\nSuite for old fashioned listeners #97 <\/em>retitled as Entertainment #6
\n<\/em>April 7, 1975 \u2013 postmarked U.S.P.S. NY 144
\nWritten on 111 East Avenue Hotel stationery
\nApril 8, 1975 \u2013 postmarked U.S.P.S. NY 144<\/p>\n

From: J. S. Watson, Jr.
\nTo: AW
\nMidnight ride day [April 18?], 1975 [no envelope]
\nTyped with additional notes in ink<\/p>\n

From: AW
\nTo: J. S. Watson, Jr:
\nApril 20, 1975 \u2013 postmarked U.S.P.S. NY 144
\nAW mentions key examples in his life: J. S. Watson, John Barrows and Louis and Lavinia Russ
\nMay 9, 1975 \u2013 postmarked U.S.P.S. NY 144
\nHoward Scott, manager of RPO secured NY state grant for AW, as a result AW completed his first composition in over a year<\/p>\n

From: J. S. Watson, Jr.
\nTo: AW
\nMay 16, 1975 [no envelope]
\nTyped letter plus draft copy with edits in ink<\/p>\n

From: AW
\nTo: J. S. Watson, Jr:
\nMay 23, 1975 \u2013 postmarked U.S.P.S. NY 144
\nHoward Scott removed from board of directors, Mitch Miller conducting AW orchestra piece
\nMay 27, 1975 \u2013 postmarked U.S.P.S. NY 144
\nMay 30, 1975 \u2013 postmarked U.S.P.S. NY 144
\nJune 29, 1975 \u2013 postmarked N.Y.C., NY
\nAW \u201cdeliberate ignorance in matters pertaining to my craft\u201d<\/p>\n

From: J. S. Watson, Jr.
\nTo: AW
\nAugust 12, 1975 [no envelope]<\/p>\n

From: AW
\nTo: J. S. Watson, Jr:
\nAugust 13, 1975 \u2013 postmarked N.Y.C., NY
\n18 confessions \u2013 AW thoughts on his life and work
\nAugust 13, 1975 \u2013 postmarked N.Y.C., NY
\nLabeled \u201cAfterword\u201d
\nAugust 15, 1975 \u2013 postmarked N.Y.C., NY
\nSent in an Algonquin envelope
\nAugust 19, 1975
\nList of all AW compositions written that year
\nAugust 30, 1975 \u2013 postmarked N.Y.C., NY
\nAW mentions he is about to start work on a western musical w\/the orchestra made up of banjo, country fiddle, organ, clarinet, accordion and drums
\nSeptember 9, 1975 \u2013 postmarked N.Y.C., NY
\nAW on his rude behavior to the \u201csuccessful world\u201d
\nSeptember 10, 1975 \u2013 postmarked N.Y.C., NY
\nAW asking about original paintings from book Jeanne D\u2019Arc in the Memorial Art Gallery in Rochester (painter Boutet de Monvel). Asking on behalf of Lavinia Russ
\nOctober 1, 1975 \u2013 postmarked U.S.P.S. WI 535
\nAW writing an \u201cUpstairs Downstairs\u201d history of the Algonquin, working on western musical of the era of 1875
\nOctober 15, 1975 \u2013 postmarked N.Y.C., NY
\nRe: Miss White and Evelyn<\/p>\n

From: AW
\nTo: Hildegarde Watson:
\nNovember 24, 1975 \u2013 postmarked N.Y.C., NY<\/p>\n

From: AW
\nTo: J. S. Watson, Jr:
\nDecember 2, 1975 \u2013 postmarked Avalon, CA
\nLoose envelope \u2013 content missing
\nDecember 12, 1975 \u2013 postmarked N.Y.C., NY
\nDecember 16, 1975 \u2013 postmarked N.Y.C., NY
\nOn the role of anonymity in AW\u2019s composition process
\nOne copy typed, one copy in ink
\nDecember 20, 1975 \u2013 postmarked N.Y.C., NY
\nOne copy typed, one copy in ink<\/p>\n

From: AW
\nTo: Hildegarde Watson:
\nDecember 30, 1975 \u2013 postmarked N.Y.C., NY
\nAW living peripatetically and tossing things away<\/p>\n<\/td>\n<\/tr>\n

folder 8<\/strong><\/td>\n\n

1976-1977 correspondence<\/em><\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\n[undated] 1976? – [no envelope]
\nIn ink; one page
\nOn translating prose to French
\n[undated] 1976? \u2013 [envelope w\/out postmark]
\n[Follow-up on response to above undated letter?] Re: Prose translated into French, Mallarme poem written to Dumas. Mentions upcoming trip to Rochester May 26
\nJanuary 5, 1976 [?] \u2013 postmarked George Town, Cayman Islands
\nRejection from Charlotte [Drum?]
\nMentions work on Algonquin book Upstairs, Downstairs <\/em>and hopeful for trip to Rochester in late February
\nJanuary 26, 1976 \u2013 postmarked George Town, Cayman Islands
\nMentions the new radio series based on his book American popular song
\nFebruary 13, 1976 \u2013 postmarked N.Y.C., NY
\nPlus 3 photocopies
\nFebruary 15(?), 1976 \u2013 postmarked N.Y.C., NY
\nSent second draft of Upstairs<\/em> \u2013 book about the Algonquin
\nFebruary 18, 1976 \u2013 postmarked N.Y.C., NY
\nFinished the Algonquin book, intends to write a string quartet for the Guarneri [?] Quartet
\nFebruary 20, 1976 \u2013 postmarked N.Y.C., NY
\nTurned over Algonquin book to publisher, Hildegarde ill
\nMarch 2, 1976 \u2013 postmarked N.Y.C., NY<\/p>\n

From: J. S. Watson, Jr.
\nTo: AW
\nUndated 3.37\u201d x 6\u201d card\u2013 response to letter from March 2
\nContains marking in ink<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nMarch 18, 1976 \u2013 postmarked N.Y.C., NY
\nApril 6, 1976 \u2013 postmarked Savannah, GA
\nWritten on Sagamore Hotel stationery
\nIn pencil; 5 pages<\/p>\n

From: AW
\nTo: Hildegarde Watson:
\nApril 12, 1976 \u2013 postmarked U.S.P.S. NY 10001
\nAccompanying letter addressed to Sibley<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nJune 2, 1976 \u2013 postmarked N.Y.C., NY
\nJuly 1, 1976 \u2013 postmarked U.S.P.S. NY 10001
\nJuly 19, 1976 \u2013 postmarked U.S.P.S. NY 10001
\nAW\u2019s creative process being stifled
\nOctober 11, 1976 \u2013 postmarked Rochester, NY
\nSorrow of Hildegarde\u2019s passing [?]
\nOctober 13, 1976 \u2013 postmarked N.Y.C., NY
\nNovember 12, 1976 \u2013 postmarked Key West, FL
\nFinished cantata, Mountain Boy<\/em>, started trio for piano, violin and cello and a few unaccompanied flute pieces
\nDecember 3, 1976 \u2013 postmarked N.Y.C., NY
\nJanuary 6, 1977 \u2013 postmarked Charlotte, NC<\/p>\n

From: Clara
\nTo: J. S. Watson, Jr.:|
\nFebruary 23, 1977\u00a0 – [no envelope]
\nMentions Hildegarde\u2019s passing
\nWritten on Soreno Hotel stationery, St Petersburg, FL<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nMarch 29, 1977 \u2013 postmarked N.Y.C., NY
\nAlgonquin book refused by hotel and forbidden from being shown to other publishers
\nJuly 23, 1977 \u2013 postmarked N.Y.C., NY
\nOn composing good music
\nSeptember 27, 1977 \u2013 postmarked Harrogate, North Yorkshire
\nAW trip to England and Scotland
\nEnvelope from Kingsmill Hotel Inverness
\nOctober 30, 1977 \u2013 postmarked Columbia, SC
\nRumors started by Harry Chapin
\nIncludes poem
\nNovember 8, 1977 \u2013 postmarked Key West, FL
\nDecember 1977 \u2013 postmarked N.Y.C., NY
\nPostcard
\nAW names first love as Betty Colfax and second as Charlotte Drum<\/p>\n<\/td>\n<\/tr>\n

folder 9<\/strong><\/td>\n\n

1978 correspondence<\/em><\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nJanuary 16, 1978 \u2013 postmarked Boston, MA
\nFirst mention of Mrs. Nancy Watson
\nJanuary 24, 1978 \u2013 postmarked N.Y.C., NY
\nFebruary 4, 1978 \u2013 postmarked Charleston, SC
\nMarch [?] 1978 \u2013 postmarked George Town, Cayman Islands
\nJune 25, 1978 \u2013 postmarked Rochester, NY
\nAW writing better than ever, but having problems with nerves
\nIncludes poem titled Search
\n<\/em>First mention of Nancy in letters<\/p>\n

From: AW
\nTo: Dale Wasserman, note for Herbert Kaplan at foot
\nLate 1978 \u2013 no envelope
\nAccompanied by explanatory note from Herbert Kaplan of circumstances around letter
\nProvenance: Herbert Kaplan<\/p>\n

From: AW
\nTo: Herbert Kaplan
\nJuly 1978 \u2013 no envelope
\nAccompanied by explanatory note from Herbert Kaplan of circumstances around letter
\nWritten on Treadway Williams Inn on Williams College Campus stationary: Williamstown, MA
\nProvenance: Herbert Kaplan<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nJuly 26, 1978 [?] \u2013 no envelope
\nContains poem, \u201cNot eye but my rhyme\u201d
\n<\/em>July 26, 1978 \u2013 postmarked Bangor, ME
\nAW listening to recording of a recent brass quintet, more confident in his skills
\nSeptember 7, 1978 \u2013 postmarked N.Y.C., NY
\nAW on \u201ccomposing by instinct\u201d and considering abandoning composition<\/p>\n

From: J. S. Watson, Jr.
\nTo: AW:
\nSeptember 10, 1978 (ripped in half)
\n[no envelope]<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nSeptember 14, 1978 \u2013 postmarked N.Y.C., NY
\nSeptember 19, 1978 \u2013 postmarked N.Y.C., NY
\nSeptember 20(?) 1978 \u2013 postmarked N.Y.C., NY
\nPostcard
\nSeptember 20, 1978 \u2013 postmarked N.Y.C., NY
\nOne copy handwritten, one copy typed
\nAW on composing anew after every piece
\nSeptember 21, 1978 \u2013 postmarked N.Y.C., NY
\nProse
\nSeptember 22, 1978 \u2013 postmarked N.Y.C., NY<\/p>\n

From: AW
\nTo: Dr. and Mrs. J. S. Watson:
\nOctober 2, 1978 \u2013 postmarked N.Y.C., NY
\nOn his isolation
\nOctober 4, 1978 \u2013 postmarked N.Y.C., NY
\nOctober 26, 1978 \u2013 postmarked N.Y.C., NY
\nAW going to Florida for an operation<\/p>\n

From: AW
\nTo: J. S. Watson, Jr.
\nDecember 4, 1978 \u2013 postmarked George Town, Cayman Islands
\nDecember 20, 1978 \u2013 postmarked George Town, Cayman Islands<\/p>\n<\/td>\n<\/tr>\n

folder 10<\/strong><\/td>\n\n

1979-81 correspondence<\/em><\/p>\n

From: AW
\nTo: Nancy Watson:
\n4 undated letters likely from 1979
\n[without envelopes]<\/p>\n

From: AW
\nTo: Dr. and Mrs. J. S. Watson
\nJanuary 19, 1979 \u2013 postmarked George Town, Grand Cayman Islands
\nAW interested in lithium carbonate for depression<\/p>\n

From: AW
\nTo: Dr. J. S. Watson, Jr.:
\nJanuary 23, 1979 \u2013 postmarked George Town, Grand Cayman Islands<\/p>\n

From: William R. Ploss, M.D.
\nTo: J. S. Watson, Jr., M.D.:
\nFebruary 8, 1979 \u2013 postmarked Gainesville, FL
\nMedical information regarding AW<\/p>\n

From: AW
\nTo: Dr. J. S. Watson, Jr.:
\nFebruary 1, 1979 [?]
\nFebruary 26, 1979 \u2013 postmarked N.Y.C., NY<\/p>\n

From: AW
\nTo: Dr. and Mrs. J. S. Watson
\nMarch 5, 1979 \u2013 postmarked N.Y.C., NY
\nMedical advice from Dr. Ploss<\/p>\n

From: AW
\nTo: Dr. J. S. Watson, Jr.:
\nMarch 19, 1979 \u2013 postmarked N.Y.C., NY<\/p>\n

From: AW
\nTo: Nancy Watson:
\nMarch 16, 1979 \u2013 postmarked Rochester, NY
\nMarch 16, 1979 \u2013 postmarked Rochester, NY
\nOnly one envelope<\/p>\n

From: AW
\nTo: Dr. J. S. Watson, Jr.:
\nApril 30, 1979 \u2013 postmarked N.Y.C., NY
\nJuly 12, 1979 \u2013 postmarked N.Y.C., NY
\nJuly 17, 1979 \u2013 postmarked N.Y.C., NY
\nJuly 23, 1979 \u2013 postmarked N.Y.C., NY<\/p>\n

From: AW
\nTo: Dr. and Mrs. J. S. Watson
\nAugust 14, 1979 \u2013 postmarked N.Y.C., NY<\/p>\n

From: AW
\nTo: Dr. J. S. Watson, Jr.:
\nSeptember 12, 1979 \u2013 postmarked N.Y.C., NY<\/p>\n

From: AW
\nTo: Nancy Watson:
\nSeptember 13, 1979 \u2013 postmarked N.Y.C., NY<\/p>\n

From: AW
\nTo: Dr. J. S. Watson, Jr.:
\nSeptember 13, 1979 \u2013 postmarked N.Y.C., NY
\nOctober 14, 1979
\nOriginal letter plus transcription in purple<\/p>\n

From: AW
\nTo: Dr. and Mrs. J. S. Watson
\nDecember 10, 1979 \u2013 postmarked N.Y.C., NY
\nPlus photocopy<\/p>\n

From: Susan C. Greene, librarian at Film Art Fund, Inc. Anthology Film Archives
\nTo: Mrs. Nancy Watson
\nApril 3, 1980 \u2013 no envelope
\nAbout renting Jerome Hill\u2019s film The Sand Castle<\/em><\/p>\n

From: Robert Freeman, director at the Eastman School of Music
\nTo: Mrs. Nancy Watson
\nMay 8, 1980 \u2013 no envelope
\nMeeting to discuss possible collaboration on the school\u2019s project honoring AW<\/p>\n

From: AW
\nTo: Dr. J. S. Watson, Jr.:
\nJuly 2, 1980 \u2013 postmarked Rochester, NY
\nAW\u2019s philosophy on non-payment
\nAugust 23, 1980 \u2013 postmarked N.Y.C., NY
\nAW writes quotes Robert Ardrey and Gunther Schuller
\nOctober 1, 1980 \u2013 postmarked Rochester, NY<\/p>\n

From: AW
\nTo: Bob
\nDecember, 18, 1980 – no envelope
\nAW mentions increasingly bad health and inability to compose a piece for \u201cFreddy\u201d Fennell
\nPhotocopy; one page<\/p>\n

From: Robert Freeman, Director, Eastman School of Music
\nTo: Dr. and Mrs. J. Sibley Watson, Jr.
\nDecember 31, 1980 \u2013 no envelope
\nOn the passing of AW<\/p>\n

From: Mrs. Nancy Watson
\nTo: Robert Freeman
\nFebruary 8, 1981 \u2013 no envelope<\/p>\n

From: Robert Freeman, Director, Eastman School of Music
\nTo: Dr. and Mrs. J. Sibley Watson, Jr.
\nFebruary 11, 1981 \u2013 no envelope
\nDiscusses recording The Truth about Windmills<\/em><\/p>\n

From: Zena Collier
\nTo: Mrs. Nancy Watson
\nJuly 11, 1981 \u2013 no envelope
\nOn the decision not to publish AW\u2019s fiction based on the opinions of Zena and Lavinia Russ<\/p>\n

From: \u201cPat\u201d [Shaw? Olivia Kaul and address on stationary]
\nTo: Mrs. Nancy Watson
\nJuly 14, 1981 \u2013 postmarked Bluff Point, NY<\/p>\n

From: Arlene Bouras
\nTo: Mrs. Nancy Watson
\nAugust 27, 1981 \u2013 no envelope
\nOn publishing AW\u2019s poems<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 3″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615483434868{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\u00a0<\/strong><\/td>\nCorrespondence from AW to David Diamond<\/em> (DD) unless otherwise noted
\n<\/em>From 1946 \u2013 April 1979. Provenance: David Diamond<\/td>\n<\/tr>\n
folder 1<\/strong><\/td>\n1946 \u2013 [no envelope]
\nWritten on Algonquin stationary
\nIn ink; one page<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\n1947 \u2013 [no envelope]
\nDD to conduct AW work
\nIn pencil; 2 pages<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\n1947 \u2013 note [no envelope]
\nNote written on two 7.6cm x 5cm cards
\nIn ink; 4 pages<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\n\u00a0April 1949 \u2013 no envelope
\nAW about drinking, defending himself from negative remarks by Mr.\u00a0Stoloff
\nMentions half scoring a long piece for Fred Waring
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\n1951 \u2013 no envelope
\nMentions Robbins\u2019 choreography to Aaron Copland\u2019s clarinet concerto
\nAlso mentions Otto Luening, Heinzheimer, Gus Schirmer, Herbie Stern, Sabina and Sarah
\nIn ink; 4 pages<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\n\u00a0From: AW
\nTo: Sabina (DD\u2019s sister)
\nAW in Pacific Palisades, CA for a film score
\nAW in blue ink; notes from Sabina to DD also on letter in brown ink
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\n[undated]
\nSchool opera went well, Interlochen will perform it a few times in August which AW hopes to attend [Kittiwake Island<\/em>? Prem. August 7, 1954 at Interlochen]
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\n[undated \u2013 1954?]
\nAW finished score 3 weeks ahead of time and is pleased
\nPlans on doing two more short ones with Arnold [Sundgaard]
\nIntends to see a new play of Arnold\u2019s at Barter Theatre in Abingdon, VA
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nJuly 18, 1952
\nMentions school opera for Schirmers
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\n[undated]
\nMore on California and film composing with lyrics by Bill Engvick
\nLetter appears to pre-date folders 6, 7, 8, 9
\nIn ink; 4 pages<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nAugust 8, 1952
\nAbout to make a deal with Don Etlinger
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nAugust 22, 1952 \u2013 postmarked St. John\u2019s Newfoundland, Canada
\nSent to DD in Rome, Italy
\nSends sympathies for DD not being able \u201cto stay on\u201d
\nIn ink; 1 page<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nDecember 25, 1952
\nAW people-watching at a diner
\nIn ink; 4 pages<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\n[undated]
\nStory
\nIn ink; 6 pages<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\n[undated]
\nJohn Barrows ill, Weldon Wilbur performed horn concerto with 6-hours-notice, finished \u201cusher\u201d job [Fall of the house of usher<\/em>], still working on opera
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nJune 19, 1953
\nIn Ocracoke, NC w\/Arnold
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\n[undated]
\nIn ink; 4 pages<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nSeptember 1953
\nAW composed cantata on\u00a0Chicken Little<\/em>\u00a0with libretto by Bill Engvick, beginning work on\u00a0Freddie Firefly
\n<\/em>Written on Algonquin stationary
\nIn ink; 4 pages<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nSeptember 19, 1953
\nFreddie Firefly<\/em>\u00a0likely not going to pan out,
\nWritten on Algonquin stationary
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nOctober 22, 1953
\nIn ink; 3 pages<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\n[undated]
\nThe cowboy kid and the little Dutch girl
\n<\/em>AW asked to write music for a film about a child turned Dodger pitcher at age 11 due to divine intervention (baseball player\u2019s ghost)
\nIn ink; 6 pages<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\n[undated]
\nAW mentions Chicken Little <\/em>cantata, delivered four movement clarinet work to David [Oppenheim?]
\nIn ink; 4 pages<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nMay 1954
\nAW in Aurora on Cayuga Lake
\nOn bad edits to AW and Arnold\u2019s piece done by Schirmers
\n\u201cFor god\u2019s sake don\u2019t fall into that twelve-tone trap!\u201d
\nIn ink; 6 pages<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nNovember 1954
\nLP pressed of\u00a0Child\u2019s Introduction to the Orchestra<\/em>\u00a0by Golden Records
\nJohn Barrows recording four movement work AW wrote for his quintet
\nAW starting work on \u201cUsher\u201d picture
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\n[undated]
\nOn what AW has written recently: musical comedy w\/Arnold for Schirmer, five mvt. piece for strings, four mvt. piece for clarinet, another for flute, songs, small chamber pieces and a woodwind quintet \u2013 too nervous to compose\u00a0The Fall of the House of Usher<\/em>\u00a0\u2013 has not started
\nIn ink; 6 pages<\/td>\n<\/tr>\n
folder 26<\/strong><\/td>\nAugust 1955
\nAW on the opera, with libretto and scenery by Bill Engvick, produced by Frank Baker [Miss chicken little<\/em>]
\nOrchestra composed of 11 performers: The NY woodwind quintet plus Ruthie Buffington and four other strings
\nMentions being asked to write for film Albert Schweitzer
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Mentions horn sonata for John Barrows and Vera Brodsky
\nIn ink; 6 pages<\/td>\n<\/tr>\n
folder 27<\/strong><\/td>\nMay 29, 1956
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 28<\/strong><\/td>\n[undated]
\nAW composing for Albert Schweitzer<\/em>, Sinatra conducting album of color pieces (AW finished blue and grey), Silvan Schulman recorded AW woodwind quintet written for John Barrows, possibility of writing show for Sarah Churchill in late spring in England
\nIn ink; 5 pages<\/td>\n<\/tr>\n
folder 29<\/strong><\/td>\nDecember 28, 1956
\nWestern union telegram
\nTyped; one page<\/td>\n<\/tr>\n
folder 30<\/strong><\/td>\nDecember 27, 1956
\nWritten on Algonquin stationary
\nIn ink; one page<\/td>\n<\/tr>\n
folder 31<\/strong><\/td>\nFebruary 5, 1957
\nWritten on Algonquin stationary
\nIn ink; one page<\/td>\n<\/tr>\n
folder 32<\/strong><\/td>\nMarch 8, 1957
\nWestern union telegram
\nTyped; one page<\/td>\n<\/tr>\n
folder 33<\/strong><\/td>\nJune 1957
\nAW on a writing spree \u2013 finished piano sonata, horn sonata and third quintet \u2013 then went on to California. Stagliano to record horn sonata, Barrows to record second horn sonata. AW heading out to Milwaukee with john and quintet, then returning to write songs for a \u201cspectacular\u201d starring Mickey Rooney
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 34<\/strong><\/td>\nJuly 15, 1957
\nItalcable telegram (Sent to DD in Florence, Italy)
\nTyped; one page<\/td>\n<\/tr>\n
folder 35<\/strong><\/td>\n[undated]
\nInvited DD to rehearsal in the morning
\nWritten on Algonquin stationary
\nIn ink; one page<\/td>\n<\/tr>\n
folder 36<\/strong><\/td>\n[undated \u2013 July or August 1957?]
\nAW mentions \u201csituation\u201d with an elderly relative
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 37<\/strong><\/td>\nAugust 1957
\nAW speaks of ill aunt in the hospital; mentions Sinatra and mentions Jerry Robbins inviting Bronx teens to opening night to determine if the acting dancers are portraying the gang correctly [West Side Story<\/em>?]
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 38<\/strong><\/td>\nNovember 1, 1957
\nItalcable telegram (Sent to DD in Florence, Italy)
\nTyped; one page<\/td>\n<\/tr>\n
folder 39<\/strong><\/td>\n\u00a0January 10, 1958
\nAW\u2019s aunt Emma now in nursing home and AW needs dental work \u2013 money tight
\nIn ink; 3 pages<\/td>\n<\/tr>\n
folder 40<\/strong><\/td>\nMay 1958
\nAW briefly in France, can\u2019t return in August as planned (too anxious for air travel), AW to write overtures for 2 plays, and incidental music for twelfth night<\/em> for pocket festival put on by Jerome Hill in Cassis.
\nIn ink; 4 pages<\/td>\n<\/tr>\n
folder 41<\/strong><\/td>\nOctober 1958
\nAW on why he can\u2019t make excursion to Europe
\nIn ink; 4 pages<\/td>\n<\/tr>\n
folder 42<\/strong><\/td>\nNovember 28, 1958
\nAW on why he can\u2019t make excursion to Europe, continued. Admits need to take only one day at a time and avoid long term planning
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 43<\/strong><\/td>\nApril 1959
\nAW in minor car accident, turned in license, generally depressed
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 44<\/strong><\/td>\nOctober 17, 1959
\nMoney woes, AW mentions Ethan Ayer completing libretto for The Wings of the Dove<\/em> with music by Douglas Moore
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 45<\/strong><\/td>\nDecember 8, 1959 \u2013 [Miami?]
\nIn ink; one page<\/td>\n<\/tr>\n
folder 46<\/strong><\/td>\n[undated \u2013 August 31]
\nIn ink; one page
\nPencil markings of expenses owed likely by DD<\/td>\n<\/tr>\n
folder 47<\/strong><\/td>\n[undated]
\nVarious information about others; Dental surgery for John Barrows has put him off horn for a while, Hildegarde Watson wants John Barrow\u2019s quintet (NY Wind Quintet) to play in Rochester for the Friends of Music
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 48<\/strong><\/td>\n[undated]
\nAW still owed money for Grandma Moses<\/em>, AW glad to hear of Sibelius\u2019 enthusiasm towards him, AW received pleasant letter from Dr. Schweitzer, AW now doing odd jobs: opening for John Housman\u2019s Seven lively arts<\/em>, a brass suite for Bill Bells brass quintet, score for television musical Pinocchio<\/em>, arrangements of old pop songs for John Barrows\u2019 woodwind quintet, score for new musical of Arnold Sundgaard, songs and background music for a new album of Alice in wonderland<\/em> recited and sung by Cyril Ritchard, songs for another album about Christmas sung by Bing Crosby, and a few minute long pieces for an album of station breaks to be sold to disc jockeys. AW also intends to visit Europe with Jerome after all to write new score for Twelfth night<\/em> in the Greek Theatre at Cassis. AW also mentions \u201cstrange reports\u201d on West Side Story
\n<\/em>In ink; 4 pages<\/td>\n<\/tr>\n
folder 49<\/strong><\/td>\n[undated]
\nAW on how he has written more in 4 months than 4 years including: a flute sonata, trumpet sonata, tuba sonata, woodwind quintet, fifty short piano pieces, a cantata, an orchestra piece in 5 movements, ten four-hand piano pieces, an orchestral suite from a movie score. AW now finishing up work on suite for alto saxophone, suite for trombones and a sonata for string quartet and horn. NY Woodwind quintet to perform AW works at Friends of Music concert in Rochester. Mention of Howard Hanson.
\nIn ink; 6 pages<\/td>\n<\/tr>\n
folder 50<\/strong><\/td>\nDecember 8, 1960
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 51<\/strong><\/td>\n[undated]
\nAW in Chicago for a week, working and visiting a friend
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 52<\/strong><\/td>\n[undated \u2013 1963?]
\nAW on missing DD\u2019s lectures
\nIn ink; one page<\/td>\n<\/tr>\n
folder 53<\/strong><\/td>\nDecember 17, 1960
\nIn ink; one page
\nNote in pencil on back<\/td>\n<\/tr>\n
folder 54<\/strong><\/td>\n1962
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 55<\/strong><\/td>\n[undated]
\nAW in Italy, but can\u2019t stay because his copyist is having trouble with score and recording dates for the film are in 10 days
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 56<\/strong><\/td>\n[undated]
\nPlanning trip with Jerome, to arrive second week in October [to Europe?]
\nIn ink; one page<\/td>\n<\/tr>\n
folder 57<\/strong><\/td>\n1962
\nAW planning to move permanently to Key West, planning trip in October
\nWritten on Algonquin stationary
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 58<\/strong><\/td>\n1963
\nDD to give lecture, AW working on sonata series
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 51<\/strong><\/td>\nFebruary 1963
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 60<\/strong><\/td>\n\u00a0May 1963
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 61<\/strong><\/td>\nJune 1963
\nAW on indeterminate music \u2013 \u201cpart of the glorious dehumanization plot?\u201d
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 62<\/strong><\/td>\n1963
\nWaiting for emblem, mentions Carl Haverlin and then Mr. Albee in regards to his Virginia Woolf play and preface to The zoo story
\n<\/em>In ink; 2 pages<\/td>\n<\/tr>\n
folder 63<\/strong><\/td>\n1964
\nWritten on Algonquin stationary
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 64<\/strong><\/td>\n1964
\nAW\u2019s attitudes on composing
\nIn ink; 6 pages<\/td>\n<\/tr>\n
folder 65<\/strong><\/td>\nJanuary 3, 1966
\nAW on DD\u2019s fourth quartet.
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 66<\/strong><\/td>\n1966
\nWritten on Algonquin stationary
\nIn ink; one page<\/td>\n<\/tr>\n
folder 67<\/strong><\/td>\nMay 22, 1968
\nWritten on The Edgewater stationary (Madison, Wisconsin)
\nIn ink; one page<\/td>\n<\/tr>\n
folder 68<\/strong><\/td>\nMay 17, 1968
\nIn ink; one page<\/td>\n<\/tr>\n
folder 69<\/strong><\/td>\nFebruary 1969
\nAW on his writing and researching false legends of popular music [for his book\u00a0On American popular song<\/em>?]
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 70<\/strong><\/td>\nMarch 20, 1969
\nAW\u2019s thoughts on a review of DD\u2019s string quartet \u2013 \u201cangered by the presumption that if a piece is not in the moment, it is not worth considering critically\u201d
\nIn ink; one page<\/td>\n<\/tr>\n
folder 71<\/strong><\/td>\nMarch 28, 1969
\nWritten on Algonquin stationary
\nIn ink; two pages<\/td>\n<\/tr>\n
folder 72<\/strong><\/td>\n[undated]
\nGeorge in hospital, AW with fake teeth, is happy that DD enjoyed the book [On American popular song<\/em>?]
\nIn ink; one page<\/td>\n<\/tr>\n
folder 73<\/strong><\/td>\nOctober 1971
\nAW mentions having attended first of the premieres and heard an unspecified piece and \u201cConsortium\u201d by Schwantner \u2013 discusses his own philosophies and how they don\u2019t line up with modern music
\nIn ink; 5 pages<\/td>\n<\/tr>\n
folder 74<\/strong><\/td>\nJanuary 14, 1972
\nAW on three premieres in one evening, including pieces of DD and AW, conducted by Walter. AW notes that the pieces were not rehearsed well enough and will be performed again
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 75<\/strong><\/td>\nJuly 24, 1972 \u2013 postmarked N.Y.C., NY
\nPostcard
\nAW delighted to read sections of DD\u2019s book
\nIn ink<\/td>\n<\/tr>\n
folder 76<\/strong><\/td>\nSeptember 17, 1973 \u2013 postmarked N.Y.C., NY
\nAW mentions book he wrote, DD heading to Juilliard [DD became professor of composition at Juilliard in 1973]
\nIn ink; 3 pages<\/td>\n<\/tr>\n
folder 77<\/strong><\/td>\nJune 26, 1974
\nIn ink; 3 pages<\/td>\n<\/tr>\n
folder 78<\/strong><\/td>\nJuly 26, 1974 \u2013 postmark illegible
\nIn ink; 3 pages<\/td>\n<\/tr>\n
folder 79<\/strong><\/td>\nJune 26, 1974 \u2013 postmarked U.S.P.S., NY 144
\nAW mentions Hildegarde Watson\u2019s irritation at not being mentioned in his book [Letter I never mailed<\/em>] and that not all good friends were mentioned [DD was not mentioned in book either]
\nIn ink; 3 pages April 23, 1975 \u2013 postmarked Chicago, IL
\nHoping DD\u2019s work goes well at Juilliard
\nIn ink; 3 pages<\/td>\n<\/tr>\n
folder 80<\/strong><\/td>\nJuly 14, 1975 \u2013 postmarked U.S.P.S., NY 144
\nIn ink; one page<\/td>\n<\/tr>\n
folder 81<\/strong><\/td>\n[undated]
\nPostcard
\nIn ink<\/td>\n<\/tr>\n
folder 82<\/strong><\/td>\nOctober 15, 1976 \u2013 postmarked U.S.P.S., NY 10001
\nAW offering assistance for DD after his heart attack, mentions Nancy and Howard Hanson
\nIn ink; 4 pages<\/td>\n<\/tr>\n
folder 83<\/strong><\/td>\nJuly 6, 1978 \u2013 Postmarked Rochester, NY
\nAW wishing DD well and noting that he must continue to compose despite age and regardless of the music quality
\nIn ink; one page<\/td>\n<\/tr>\n
folder 84<\/strong><\/td>\nApril 1979 \u2013 postmarked N.Y.C., NY
\nPostcard
\nSympathy over Ity\u2019s death
\nIn ink May 12, 1980 \u2013 postmarked George Town, Cayman Islands
\nAW on receiving his fellowship and worried about composing since he knows of his inevitable dry spells
\n\u201cMay 1980 – Alec\u2019s last letter to me\u201d written in pencil by DD at heading
\nIn ink; one page<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 4″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615483664182{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nFrom: [unidentified \u2013 initials appear to be W.R.]
\nTo: AW
\nApril 19, 1961From: Julius Monk
\nTo: AW
\n[Sunday – undated]<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nLetters, 1964-1966
\n<\/em>From: AW
\nTo: Frank
\n[undated]
\nFrom Lillian Ross
\nTo AW
\nFebruary 12, 1964
\nFrom: Bernard Reis & Company, CPAs
\nTo: \u201cGentlemen\u201d Re: \u201cWho\u2019s Afraid of Virginia Woolf?\u201d
\nFebruary 18, 1964
\nRegarding recent audit of The Woolf Company; includes statements of receipts, disbursements, expenses as of February 1, 1964 and profit for New York and Road Company run for the eight weeks ended February 1, 1964
\nFrom: Lillian Ross
\nTo AW
\nFebruary 27, 1964
\nFrom: [unsigned \u2013 on AW\u2019s behalf]
\nTo: Mr. Leonard Carroll
\nMarch 1, 1964
\nFrom: Howard Richmond, The Richmond Organization
\nTo: AW
\nNovember 19, 1965
\nNew bridge for Pretty Walk<\/em>, lyrics by Fran Landesman
\nFrom: Walter P. Sheppard, program director Riverside Radio WRVR 106.7
\nTo: AW
\nMarch 3, 1966
\nPart 1 of interview with Harry Bouras, to be broadcast at 10:30pm on March 15 and repeated at 5pm March 18; Part 2 broadcast at 10:30pm on March 17 and repeated at 5pm on March 21From: AW
\nTo: Arlene
\nApril 1966
\nOn sending her a draft of pieces he intended to call Suite for me and the eneme<\/em>[sic]<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nFrom: AW
\nTo: Bill Hay, South Carolina Educational Television Network
\n[undated]
\nAW\u2019s recommendation of Marian McPartland as mediator and interviewer for radio jazz series<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nFrom: AW
\nTo: Dr. J. S. Watson, Jr.:
\n[undated]
\nThank you note
\nOctober 10, 1979
\nLetter
\nOctober 13, 1979
\nLetter of confessions
\nPage titled, \u201cAlec Wilder Punning and Clowning\u201d
\nBy Hildegarde Watson
\n[undated]
\nHildegarde\u2019s reminisces of AW (one page)<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nEnvelope with MS sketch<\/em>
\n<\/em>Envelope from: Carroll Case
\nTo: AW
\nMay 15, 1933
\nLyrics: \u201cWhat do you think of Margaret dear, these were the only words she said, Father and I who lived all alone\u201d<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nLetters to Glenn <\/em>[Bowen?]
\nApril 26, 1973
\nOn securing an ensemble to perform a wind ensemble piece
\nMay 3, 1973
\nOn progress of wind ensemble piece
\nOctober 23, 1973
\nOn progress of wind ensemble piece<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nFrom: AW
\nTo: Dr. Max Presburg
\n[undated]
\nOn AW\u2019s intention to compose a violin sonata for him as a measure of gratitude and affection
\nProvenance: Max Presberg<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nFrom: AW
\nTo: Joyce Armitage (sister of Marian McPartland)
\nCopy of AW poem \u201cBeauty! Art! Wit!…\u201d
\n[undated] original
\n[undated] Photocopy [original not present]
\nProvenance: Marian McPartland<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nFrom: Jayne?
\nTo: AW
\nJanuary 30, 1967From: AW
\nTo: Shirley
\n[undated]
\nAW\u2019s response to romantic rejection
\nFrom: AW
\nTo: [not addressed]
\n[undated]
\nAW on relationships and rejection [possibly also intended for Shirley (see above)]
\nFrom: Major Labia
\nTo: Dudley Frashier
\nMarch 7, 1958
\nFrom: AW
\nTo: [not addressed]
\n[undated]
\nDraft of liner notes from Cy Walter\u2019s album Rodgers Revisited –\u00a0 Cy Walter plays Richard Rodgers compositions <\/em>\u2013 Atlantic records (Atlantic 1236), \u00a01956.
\nProvenance: Bruce M. Creditor<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nFrom: AW?
\nTo: Mitchell [Miller?]From: Frank D\u2019Amanda
\nTo: J. S. Watson, Jr.:
\nMay 19, 1942
\nOn meeting AW and working on his draft problem From: AW?
\nTo: J. S. Watson, Jr.
\nJanuary 2, 1970
\nProse: \u201cFront Street\u201d (In envelope)From: AW
\nTo: J. S. Watson, Jr.
\nDecember 27, 1978 – Cayman Islands
\nProvenance: Nancy Watson Dean<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nLetters from AW to John Barrows (Sept \u2013 Dec 1973)<\/em>
\n<\/em>September 4, 1973
\nFartalia #1September 5, 1973
\nFartalia #2
\nMentions writing The Truth about Windmills<\/em>September 15, 1973
\nFartalia #4
\nMentions meeting with Arnold [Sundgaard] to consult with \u201copera people\u201d and listen to a rehearsal. Also mentions that he will stay on and get to work on a new trio for Bernie and some more unaccompanied solos for Harvey September [between 15-29], 1973
\nFartalia #5
\nMentions Milton Kaye\u2019s request for ragtime, the rudeness of David Diamond, Cahill requesting to perform the piece AW wrote for Verne, Harvey putting some pieces he recorded on the back of the trio he recorded with John Barrows, progress on the Sundgaard opera, creating a piano reduction of Glenn\u2019s concerto and Harry Boures FM station putting a couple of Grappelli records on cassettes September 29, 1973
\nFartalia #6
\nMentions setting three lyrics sent by a talented woman living in London; has rewritten Ethan Ayer\u2019s lyrics, finished 6 unaccompanied tuba solos for Harvey, and had a difficult time starting a new trio for Bernie; attempting to finish a new entertainment for wind ensemble November 19, 1973
\nFartalia #9
\nMentions sending a piece to Keith Brion, who subsequently lost the 3rd<\/sup> and 4th<\/sup> pages of the fourth movement and upset AW; speaks of his adeptness with crossword puzzles; mentions wishing to compose the trio for Bernie as well as a piano and wind ensemble piece for Marian McPartland November 20, 1973
\nFartalia #10
\nRant about Keith Brion losing pages of AW\u2019s music and having to rewrite them.November 27, 1973
\nFartalia #11
\nKeith Brion issue continues, mentions the book of letters [Letters I never mailed?] accepted by Little Brown.December 7, 1973
\nFartalia #12
\nMentions that a wind ensemble has been assembled (not from the music school, but of competent musicians); mentions that Marian McPartland suggested Joe Morello, who can\u2019t make the performance and as such was going to send a student; also mentions that Penderecki was there [New Haven?] with his published Pittsburg Overture<\/em>.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nFrom AW
\nTo Dr. J. S. Watson, Jr.
\nJuly 22, 1943
\nMentions that a record called Paper Doll<\/em> sold for half a million and contains a tune of his which should bring him some royalties.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\n\n

Miscellaneous correspondence to AW<\/em><\/p>\n

From J. S. Watson, Jr.
\nNovember 25, 1976
\nOctober 10, 1979<\/p>\n

From Tony Reavell<\/p>\n

    \n
  1. VIII. 78
    \nOf the Martello Bookshop<\/em> in Rye, East Sussex England
    \nMentions E. F. Benson, Miss Mapp and the Rye Festival<\/li>\n<\/ol>\n

    From: TED
    \nMay 1979
    \nPoem for AW entitled, \u201cThe Star Thrower\u201d after Loren Eiseley<\/p>\n

    From: Robert Freeman, director \u2013 Eastman School of Music
    \nJanuary 14, 1980
    \nDocument identifying AW as an honorary degree recipient of the University of Rochester<\/p>\n

    From: Gordon N. Ray, president
    \nFebruary 23, 1980
    \nLetter regarding interest in AW\u2019s proposed Guggenheim fellowship studies and a request to secure financial details<\/p>\n

    From Max Presburg
    \nJuly 5, 1980
    \nRegarding the violin piece written for him<\/p>\n

    From: G. Thomas Tanselle, vice president of the John Simon Guggenheim Memorial Foundation|
    \nJuly 8, 1980
    \nNotice of appointment by the board of trustees to a fellowship for the period from June 1, 1980 to May 31, 1981<\/p>\n

    From: Hugh Martin
    \nNovember 2, 1980
    \nAddressed to \u201cUncle Al\u201d<\/p>\n

    From: LB [Lorraine Bouras \u2013 daughter of Harry and Arlene Bouras]
    \nNovember 25, 1980<\/p>\n

    From: Lavinia Russ
    \n[undated postcard]
    \n[undated card]<\/p>\n

    From John and Gloria Kessel
    \nDecember 13 [no year]<\/p>\n

    From: Tish [St. Clair?]
    \n[undated]
    \nMentions daughters Amy and Jane<\/p>\n<\/td>\n<\/tr>\n

folder 14<\/strong><\/td>\nLouis Ouzer to AW (1942-1945)
\n<\/em>Consists predominantly of prose, stories and war accounts, some mention of AW pieces
\n<\/em>February 26, 1942
\nApril 1, 1943
\nMarch 5, 1944
\nSigned as \u201cDee Azur\u201d
\nOctober 2, 1944 (France \u2013 written for Sgt. Blaker)
\nOctober 13, 1944 (France)
\nProse on war
\nOctober 25, 1944 (France)
\nNovember 13, 1944 (France)
\nNovember 29, 1944 (France)
\nIncludes letter and holiday card from Headquarters Twelfth Army Group
\nDecember 19, 1944 (France)
\nMentions that \u201cI\u2019ll be around\u201d performed by Georgia Carroll was used in a movie short made for the G.I.s
\nDecember 26, 1944 (France)
\nProfound thoughts on war
\nJanuary 18, 1945 (France)
\nFebruary 13, 1945 (France)
\nMarch 11, 1945 (France)
\nMarch 19, 1945 (France)
\nMarch 20, 1945 (France)
\nApril 3, 1945 (France)
\nApril 14, 1945 (Europe)
\nMay 17, 1945 (Wiesbaden, Germany)
\nOn his travels during the war and his points earned
\nMay 23, 1945 (Wiesbaden, Germany)
\nNotes that although the war is over, it doesn\u2019t feel over; mentions having heard Heifetz give an outdoor concert
\nAugust 15, 1945 (Fort Benning, Georgia)
\nSigned as Dee Azur
\nMentions atomic bomb and returning to civilian life soon
\nAugust 26, 1945 (Fort Benning, Georgia)
\nSigned as Dee Azur
\nSeptember 5, 1950
\nDecember 18, 1951 (\u201cDouble Feature\u201d – story)
\nSigned as Dee Azur
\n[undated] Wednesday
\n[undated] Tuesday
\nSigned as Dee Azur
\nMarch 25(Wednesday) [no year present]
\n[undated] Friday
\nMentions performance of Neurotic Goldfish at Eastman and the audience reception
\n[undated]\u00a0 \u201cPost War Planning\u201d by Dee Azur
\n[undated] \u201cWe are tired\u2026\u201d
\nContains MS sketch in AW\u2019s hand (pencil) at bottom of page, noting \u201cSolo to H.M. Harry\u201d<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nFrom: AW
\nTo: Jackie and Roy Kral
\nMay 7, 1983 [likely meant to be 1973]
\nPhotocopied letter re: death of their eldest daughter \u2013 Nicoli Kral. Also includes copy of Wilder\u2019s words in memory of Niki Kral written in ink by Jackie Kral (original copy in AW\u2019s hand was left on the beach where they took Niki\u2019s ashes)
\n[see also Box 1 folder 4]<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nFrom: Peter Shaw, Canadian Broadcasting Corporation
\n<\/em>To: Louis Ouzer<\/em>
\n<\/em>April 29, 1969
\nThank-you letter for photographs of recording session. Also mentions Pat\u2019s pregnancy and the hope to have AW involved in future programming.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1615488848988{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Series 5: Personal Papers<\/h3>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1615488879478{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Sub-series 1: Poetry<\/span><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 1″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615488894819{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nPoems, pages 1-100\u00a0<\/em>[copy 1]
\n[not dated]
\nTitles included but not limited to:
\nClub car<\/em>\u00a0(page 3)
\nHymn<\/em>\u00a0(page 8)
\nVacation<\/em>\u00a0(page 9)
\nSt. Regis<\/em>\u00a0(page 14)
\nPastorale<\/em>\u00a0(page 20)
\nJingle<\/em>\u00a0(page 26)
\nEpitaph<\/em>\u00a0(page 26)
\nSacre du printemps<\/em>\u00a0(page 30)
\nDefeatism<\/em>\u00a0(page 35)
\nDebutante<\/em>\u00a0(page 46)
\nMob<\/em>\u00a0(page 49)
\nPlagal Cadence<\/em>\u00a0(page 56)
\nIdyll\u00a0<\/em>(page 57)
\nPalmistry<\/em>\u00a0(page 59)
\nPuberty<\/em>\u00a0(page 63)
\nConversation\u00a0<\/em>(page 69)
\nUntil it hurts<\/em>\u00a0(page 70)
\nLuncheon<\/em>\u00a0(page 71)
\nU.S.<\/em>\u00a0(page 85)
\nAutumn\u00a0<\/em>(page 96)<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nPoems, pages 1-100\u00a0<\/em>[copy 2]
\n[not dated]
\nSee folder 1 for contents<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nPoems, pages 1-100\u00a0<\/em>[copy 3]
\n[not dated]
\nSee folder 1 for contents<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nPoems, pages 1-100\u00a0<\/em>[copy 4]
\n[not dated]
\nSee folder 1 for contents<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nPoems, pages 101-200 <\/em>[copy 1]
\n[not dated]
\nTitles included but not limited to:
\nPunctuation<\/em> (page 108)
\nEgotist <\/em>(page 112)
\nFor my girl <\/em>(page 129)
\nTo my best boy Charles Henri Ford <\/em>(page 135)
\nPro <\/em>(page 139)
\nCon <\/em>(page 140)
\nHymn <\/em>(page 149)
\nTrinity <\/em>(page 150)
\nLove <\/em>(page 151)
\nLilacs once <\/em>(page 157)
\nFifty years from home<\/em> (page 160)
\nPropriety <\/em>(page 164)
\nTo the Helen who never launched<\/em> (page 166)
\nA prayer <\/em>(page 179)
\n[5\/27\/64] (page 180)
\nVacation<\/em> (page 190)
\n[5\/27\/64] (page 196)
\n[Letter from Arlene Bouras \u2013 July 16 (1964?)] (page 197)<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nPoems, pages 101-200 <\/em>[copy 2]
\n[not dated]
\nSee folder 5 for contents<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nPoems, pages 101-200 <\/em>[copy 2]
\n[not dated]
\nSee folder 5 for contents<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nPoems, pages 101-200 <\/em>[copy 4]
\n[not dated]
\nSee folder 5 for contents<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nPoems, pages 201-269 <\/em>[copy 1]
\n[not dated]
\nTitles included but not limited to:
\nMelange<\/em> (page 222)
\nA love song<\/em> (page 240)
\nNightmare #1<\/em> (page 245)
\nNightmare #2<\/em> (page 246)
\nIn defense of indulgence<\/em> (page 247)
\nAgnes Day<\/em> (page 254)
\nXVI<\/em> (page 264)
\nIn memoriam<\/em> (page 267-268)<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nPoems, pages 201-269 <\/em>[copy 2]
\n[not dated]
\nSee folder 9 for contents<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nPoems, pages 201-269\u00a0<\/em>[copy 3 – incomplete]
\n[not dated]
\nLast page missing
\nSee folder 9 for contents<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nPoems, pages 201-269\u00a0<\/em>[copy 4 – incomplete]
\n[not dated]
\nContains pages 201-209, 236-269
\nSee folder 9 for contents<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nPoems, pages 201-269\u00a0<\/em>[copy 5 – incomplete]
\n[not dated]
\nContains pages, 210-235
\n27 pages total
\nSee folder 9 for contents<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 2″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615488934636{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nEarly poems
\n<\/em>Found together in envelope
\n154 leaves and one manila envelope
\nIncludes letter addressed to Alec [from J. S. Watson, Jr.?)
\n124 pages typed
\n57 pages by hand
\nContains drafts and early sketches of verse \u201cEarly Verse\u201d written on manila envelope\u201cThe value of the first glance\u201d
\n<\/em>Typed; one page\u201cThere is an end to conceit\u201d
\n<\/em>Typed; one page\u201cIs it true of that inbound face over there?\u201d
\n<\/em>Typed; one page\u201cDo you envy the man with the fierce desire?\u201d
\n<\/em>Typed; two pages\u201cLove song\u201d \u2013
\n<\/em>Typed; one page<\/p>\n

\u201cHe sat on the edge of the bed\u201d
\n<\/em>Typed; one page
\nTwo copies; one with edits in pencil<\/p>\n

Page titled, \u201cMistakes and Dupes\u201d 2\/14\/66<\/p>\n

\u201cYou\u2019re sixty-two years old\u201d \u2013 [omit] 5\/15\/64
\n<\/em>Typed; one page
\nTwo copies<\/p>\n

\u201cI see you doing the quiet things\u201d \u2013 [omit]
\n<\/em>Typed; one page
\nTwo copies<\/p>\n

\u201cThe child saw all the grownups\u201d \u2013 [omit]
\n<\/em>Typed; one page
\nTwo copies<\/p>\n

\u201cMy dearest enemy\u201d \u2013 omit
\n<\/em>Typed; one page
\nTwo copies<\/p>\n

\u201cBefore I figured it out\u201d \u2013 omit
\n<\/em>Typed; one page
\nTwo copies<\/p>\n

\u201cYou\u2019d never believe it, Mac\u201d \u2013 omit
\n<\/em>Typed; one page
\nTwo copies<\/p>\n

\u201cDeath would have been\u201d \u2013 omit
\n<\/em>Typed; one page
\nTwo copies<\/p>\n

\u201cCommunication #1\u201d<\/em>\/\u201dCommunication #2\u201d \u2013 omit
\n<\/em>Typed; one page<\/p>\n

One copy of the following poems on yellow paper, second copy on orange paper:<\/p>\n

\u201cMr. Lowell and I\u201d \u2013 1 omit
\n<\/em>Typed; one page
\nYellow copy contains note from Dr. J. S. Watson<\/p>\n

\u201cAs you know\u201d \u2013 1 omit
\n<\/em>Typed; one page<\/p>\n

\u201cSome summers ago\u201d \u2013 1 omit
\n<\/em>Typed; one page<\/p>\n

\u201cA lady drew my face\u201d \u2013 1 omit
\n<\/em>Typed; one page<\/p>\n

\u201cAs the slender bridge\u201d \u2013 1 omit
\n<\/em>Typed; one page<\/p>\n

\u201cVacation\u201d \u2013 1 omit
\n<\/em>Typed; one page<\/p>\n

\u201cYou with tigress violence\u201d 1 omit
\n<\/em>Typed; one page<\/p>\n

\u201cCommunication #1\u201d<\/em>\/ \u201dCommunication #2\u201d \u2013 1 omit
\n<\/em>Typed; one page<\/p>\n

\u201cTake my hand, stranger\u201d \u2013 1 omit
\n<\/em>Typed; one page<\/p>\n

\u201cEven Auden is God \u2018n\u2019\u201d \u2013 1 omit
\n<\/em>Typed; one page
\n[Second copy of above on orange paper]<\/p>\n

\u201cInadequate animal\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cPastorale\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cIt hurts too much sometimes\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cThe marching frieze of conscious days\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cYou have slowed my pulse and deepened it\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cPity becomes an inquisitor\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cFulfillment is static\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cDo my ways and words seem real to you?\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cHe tried to laugh cynically about his trembling\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cYours is a space problem\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cLarge with calm and instantaneous readjustment\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cIdyll\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cThere\u2019s a constant risk of more than pain\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cSlowly am I made well\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cRags Dustin made money\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cCan your disturbing little, sullen little, selfish face soften the rumble of guns\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cUntil it hurts\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cFlow!\u201d
\n<\/em>Typed; one page
\n2 copies<\/p>\n

\u201cImpulse had done almost everything for him\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cDefeatism\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cThat tree breathes no less for my weakness\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cImagine such a device as subtlety\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cDo not begrudge the sick the sun\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cNo, I am not percussive\u201d
\n<\/em>Typed; one page
\nNote on back about Fire Dept. training school on Genesee St.<\/p>\n

\u201cPallid as the lip of dusk\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cThe bar, waist-high\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cWhat a child knows\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cWe do very well with beauty\u201d
\n<\/em>Typed; one page
\nNotes on back, in pencil<\/p>\n

It does not seem a man is small\u201d
\n<\/em>Typed; one page
\nNotes on back in pencil<\/p>\n

\u201cI am never elated by my success\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cIt must be false\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cMay I value my weakness\u201d
\n<\/em>Typed; two pages<\/p>\n

\u201cWatch as I write\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cIf it were spring\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cI find that I\u2019m sharing these things with you\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cIt\u2019s quite safe and social\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cIt isn\u2019t so much that I want to share this feeling\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cI had left a paper cup on a ledge\u201d
\n<\/em>Typed; one page
\nNotes on the back, in pencil<\/p>\n

\u201cMust I relate the perfect warmth\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cIt\u2019s as true as your trying not to stand there\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cHow presumptuous\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cSkip a stone into the path of the sun\u201d
\n<\/em>Typed; one page
\nTwo copies<\/p>\n

\u201cWhen I look upon the evening\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cI knew when I fashioned my tempo tonight\u201d
\n<\/em>Typed; one page<\/p>\n

\u00a0\u201cDebutante\u201d
\n<\/em>Typed; one page
\nEdits in ink<\/p>\n

\u201cPlagal Cadence\u201d
\n<\/em>Typed; one page
\nOriginally titled, \u201cTransition\u201d
\n<\/em>Edits in ink<\/p>\n

\u201cGregarious one, thrust up until you feel response\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cHymn\u201d
\n<\/em>Typed; one page<\/p>\n

\u00a0\u201cPalmistry\u201d
\n<\/em>Typed; one page
\nEdits in pencil; notes in pencil on back<\/p>\n

\u201cJust for a moment\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cStrength is as good as a tree\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cMaybe your mother was scared by a monk\u201d
\n<\/em>Typed; two pages<\/p>\n

\u201cIt\u2019s wearying to see too much\u201d
\n<\/em>In ink; two pages<\/p>\n

\u201cIt wasn\u2019t books, was it\u201d
\n<\/em>Typed; two pages<\/p>\n

\u201cFear is too innate\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cI did this all alone\u201d
\n<\/em>Typed; one page
\nEdit in pencil<\/p>\n

\u201cWho nurses the nurses\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cWhat becomes clearer under fire?\u201d
\n<\/em>Typed; two pages<\/p>\n

\u201cSacre du printemps\u201d
\n<\/em>Typed; one page
\nNotes in pencil<\/p>\n

\u201cIt\u2019s good to be with you\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cA city is unfamiliar in mist\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cThe devil is fair and female\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cIt\u2019s good to have loved\u201d
\n<\/em>Typed; one page
\nEdits in ink<\/p>\n

\u201cWould any of you like to know\u201d
\n<\/em>Typed; one page
\n<\/em>Dated January 22, 1968<\/p>\n

\u201cNature Ombrageuse <\/em>for title?\u201d [typed at bottom]<\/p>\n

\u201cCreatures of habit\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cMarching about your life\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cClub Car\u201d
\n<\/em>Typed; one page
\nTitle in pencil<\/p>\n

\u201cRight now, my very dear\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cNotice the scent of life?\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cSo I\u2019ve run out of paper, said the word man\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cYou\u2019re wrong!\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cThey\u2019re waiting for you, Mister\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cThis is how easy it is\u201d
\n<\/em>Typed; one page<\/p>\n

\u201cI\u2019ve tried to track this down\u201d
\n<\/em>Typed; one page<\/p>\n

To: AW
\nFrom: Dr. J. S. Watson, Jr.
\nLetter from 1976 \u2013 JSW Jr. sent typed copy of Upstairs <\/em>(AW\u2019s book about the Algonquin)<\/p>\n

\u201cLet this be a reminder\u201d
\n<\/em>\u00a0<\/em>In ink; one page
\nWritten on Algonquin stationary
\nNotes in pencil on reverse<\/p>\n

\u201cVacation\u201d
\n<\/em>In pencil; four pages<\/p>\n

\u201cThis thing answers me perhaps too much\u201d
\n<\/em>In ink; four pages
\nWritten on Algonquin stationary<\/p>\n

\u201cI listened to the ruthless repetition of the waves\u201d
\n<\/em>In pencil; one page<\/p>\n

\u201cSo\u201d
\n<\/em>In pencil; two pages
\nWritten on Algonquin stationary<\/p>\n

\u201cI sit here, loving you\u201d
\n<\/em>In pencil; two pages
\nWritten on Red Lion Inn stationary<\/p>\n

\u201cLovely little girl\u201d
\n<\/em>In pencil; one page
\n\u201cFor my girl\u201d written in pencil on reverse<\/p>\n

\u201cMaybe my health was good\u201d
\n<\/em>\u00a0<\/em>In ink; 4 pages<\/p>\n

\u201cI live in a world of fools\u201d
\n<\/em>In ink; two pages<\/p>\n

\u201cMy beguiling friend\u201d
\n<\/em>\u00a0<\/em>In pencil; 3 pages<\/p>\n

\u201cThis thing is too beautiful\u2026\u201d
\n<\/em>Typed; one page<\/p>\n

\u00a0\u201cA single brazen trumpet\u201d
\n<\/em>In ink; one page<\/p>\n

On reverse of \u201cThis thing is too beautiful\u2026\u201d<\/em><\/p>\n

\u201cI am fed by their faces\u201d
\n<\/em>In ink; 2 pages
\nWritten on The Sagamore stationary (Rochester, NY)<\/p>\n

\u201cYes, child, the dream had to die\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cThere were slow nostalgic nights\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages
\nWritten on Hotel Seaglade stationary (Palm Beach, FL)<\/p>\n

\u201cYou have found me\u201d
\n<\/em>\u00a0<\/em>In ink; one page
\nWritten on Algonquin stationary<\/p>\n

\u201cUnderstand finality!\u201d
\n<\/em>In ink; 2 pages
\nWritten on Algonquin stationary<\/p>\n

\u201cShe thinks she is fact\u201d
\n<\/em>In ink; 3 pages
\nWritten on Algonquin stationary<\/p>\n

\u201cAnd so I\u2019ve come to the new place\u201d
\n<\/em>\u00a0<\/em>In ink; one page<\/p>\n

\u201cA wise child in any way\u201d
\n<\/em>In pencil; 2 pages<\/em><\/p>\n

\u201cI have demanded\u201d
\n<\/em>\u00a0In pencil; 2 pages<\/em><\/p>\n

\u201cAs we stand about\u201d
\n<\/em>In pencil; 2 pages<\/p>\n

\u201cYouth is the best device\u201d
\n<\/em>In ink; 2 pages
\nWritten on the back of Towne Tavern menus<\/p>\n

\u201cAnything seen once and without deliberation\u201d
\n<\/em>In ink; 2 pages
\nWritten on Sagamore Hotel stationary (Rochester, NY)<\/p>\n

\u201cWhere is the beauty in me?\u201d
\n<\/em>In ink; one page
\nPartially scribbled out with pencil<\/p>\n<\/td>\n<\/tr>\n

folder 2<\/strong><\/td>\nPoems, Gift of Marian McPartland
\n<\/em>[not dated]
\nPhotocopy of \u201cBeauty! Art! Wit!…\u201d in AW\u2019s hand (2 pages)
\nPlus 8 typed copies (8 pages)
\n10 typed copies of \u201cDear next reader\u2026\u201d (10 pages)
\nIn ink, 5 pages of verse
\nOne photocopy of inked page, \u201cIs it something that makes you act crazy?\u201d<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nPoems, Gift of Nancy Watson Dean
\n<\/em>To: Dr. James S. Watson, Jr.
\nDecember 30, 1977 \u2013 postmarked Kansas City
\n\u201cThere\u2019s a death that\u2019s a gurgle\u2026\u201d
\n<\/em>In ink; one pageTo: Dr. James S. Watson, Jr.
\nJanuary 2, 1978 \u2013 postmarked San Diego, CA
\n\u201cGive me the most limped, jellied madril\u00e8ne..\u201d
\n<\/em>\u201cView the passing, to and fro\u2026\u201d
\n<\/em>In ink; 2 pages<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nPoems, mailed to friends <\/em>[1930?], 1967-68
\n<\/em>March 23, 1968 \u2013 no envelope
\n\u201cIf I respect myself, I forgive myself\u2026\u201d
\n<\/em>\u00a0<\/em>In ink; 3 pages To: Dr. James S. Watson, Jr.
\n[not dated \u2013 1930?] \u2013N.Y.C., NY
\n\u201cIt\u2019s becoming a chore, a trial\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages \u2013 enveloped labeled \u201cAny color but white\u201d
\nDecember 1940 \u2013 no envelope
\n\u201cPerforate\u201d
\n<\/em>Typed; one page
\n1940 \u2013 no envelope
\n\u201cThe Rendering\u201d
\n<\/em>Typed; one pageTo: Hildegarde Watson
\nFebruary 5, 1941 \u2013 postmarked Rochester, NY
\nWritten on Hotel Sagamore stationery
\n\u201cDon\u2019t be surprised at anything you see\u2026\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages
\nSeptember 29, 1967 \u2013 no envelope
\n\u201cTwo poems received by A. Wilder\u201d<\/em><\/p>\n
    \n
  1. \u201cDo not concern those who sleep with waking\u201d<\/em><\/li>\n
  2. \u201cHeart-breaking towns\u2026\u201d<\/em><\/li>\n<\/ol>\n

    2 pages typed;
    \nIn ink, 4 pages labeled pages 3-6 [pages 1 and 2 not present]<\/p>\n

    March 23, 1968 \u2013 no envelope
    \n\u201cCOOL IT, WALTER!\u201d
    \nIn ink, 2 pages<\/p>\n

    To: Dr. James S. Watson, Jr.
    \nApril 9, 1968 \u2013 N.Y.C., NY
    \n\u201cWhy in the name of names\u2026\u201d
    \n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>In ink, 2 pages
    \n\u201cI\u2019m much too old\u2026\u201d
    \n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>In ink, 1 page<\/p>\n

    [not dated, not addressed]<\/p>\n

      \n
    • \u201cThe lost wallet, glasses\u2026\u201d
      \n<\/em>Typed; 1 page<\/li>\n
    • \u201cMarch\u201d
      \n<\/em>Typed; 1 page<\/li>\n
    • \u201cPavane for the U.S.\u201d
      \n<\/em>Typed; 1 page<\/li>\n
    • \u201cJazz Waltz\u201d
      \n<\/em>Typed; 2 pages<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nPoems, mailed to friends 1970-1971
\n<\/em>To: Dr. J. S. Watson
\nJanuary 21, 1970 \u2013 postmarked Rochester, NY
\n\u201cTo Nancy\u201d
\n<\/em>\u201cHad I the flair to do it if I would make my homage rhyme\u2026\u201d
\n<\/em>\u00a0<\/em>In ink; one page January 21, 1970
\n\u201cAmerica\u201d
\nNote in AW\u2019s hand, \u201cThese are samples of what members of a children\u2019s choir thought they had been singing. I know the choir master and it\u2019s not a jape\u201d
\nTyped, one pageTo: Dr. J. S. Watson
\nJanuary 28, 1970 \u2013 postmarked Rochester, NY
\n\u201cThose who fail to wonder\u2026\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages To: Dr. J. S. Watson
\nFebruary 19, 1970 \u2013 postmarked Key West, FL
\n\u201cNever tell this to the dying\u2026\u201d
\n<\/em>\u00a0<\/em>In ink; one pageTo: Dr. J. S. Watson
\nOctober 6, 1970 \u2013 postmarked Rochester, NY
\n\u201cMuch in the mind can change a memory\u2026\u201d
\n<\/em>\u00a0<\/em>\u201cPoem on the past\u201d written on envelope in JSW\u2019s hand
\nIn ink; one page[not dated, not addressed]
\n\u201cUpstairs\u201d
\n<\/em> Typed; one page<\/p>\n

To: Dr. J. S. Watson
\nOctober 6, 1970 \u2013 postmarked Rochester, NY
\n\u201cAfter a long vacation of living\u2026\u201d
\n<\/em>\u201cEagle scout lost his badge\u201d written on envelope in JSW\u2019s hand<\/p>\n

To: Dr. J. S. Watson
\nNovember 16, 1970 \u2013 postmarked N.Y.C., NY
\n\u201cAdvice to the starry-eyed\u201d
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>\u201cPoem about love\u201d written on envelope in JSW\u2019s hand
\nIn ink; one page<\/p>\n

To: Dr. J. S. Watson
\nDecember 14, 1970 \u2013 postmarked Key West, FL
\n\u201cGolden Wedding\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson
\nDecember 22, 1970 \u2013 postmarked Key West, FL
\n\u201cDo poets write of pigeon\u2019s feet\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson
\nDecember 27, 1970 \u2013 postmarked Key West, FL
\n\u201cNo matter what you hear me pompously proclaim\u2026\u201d
\n<\/em>\u201cThe palm has dropped its coconuts\u201d written on envelope in JSW\u2019s hand
\nIn ink; 4 pages<\/p>\n

To: Dr. J. S. Watson
\nDecember 28, 1970 \u2013 postmarked N.Y.C., NY
\n\u201cI have a hundred homes\u2026\u201d
\n<\/em>\u201cI have a hundred friends\u201d written on envelope in JSW\u2019s hand
\nIn ink; 4 pages<\/p>\n

[not addressed \u2013 no envelope]
\n1971
\n\u201cIdeas oeuvres and people rejected\u2026I accept rejection\u201d
\n<\/em>In ink; one page<\/p>\n

To: Dr. J. S. Watson
\nJanuary 3, 1971 \u2013 postmarked Boston, MA
\n\u201cProse may walk a slack wire\u201d
\n<\/em>\u00a0<\/em>In ink; one page<\/p>\n

To: Dr. J. S. Watson
\nJanuary 4, 1971 \u2013 postmarked N.Y.C., NY
\n\u201cWhen someone who is closer to the secret than I am\u2026\u201d
\n<\/em>\u00a0<\/em>In ink; one page<\/p>\n

\u201cI shall resist the growing fever\u2026\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cThat you can face its loss\u2026\u201d
\n<\/em>\u00a0<\/em>In ink; one page<\/p>\n

To: Dr. J. S. Watson
\nJanuary 12, 1971 \u2013 postmarked Rochester, NY
\n\u201cI do not admire you for being unafraid\u2026\u201d
\n<\/em>In ink; one page<\/p>\n

To: Dr. J. S. Watson
\nJanuary 20, 1971 \u2013 postmarked N.Y.C., NY
\n\u201cI know you, you heavy breathing lover\u2026\u201d
\n<\/em>In ink; 2 pages<\/p>\n

[not addressed \u2013 no envelope]
\n1971
\n\u201cPerhaps posterity is so greedily desired\u2026\u201d
\n<\/em>In ink; 2 pages<\/p>\n<\/td>\n<\/tr>\n

folder 6<\/strong><\/td>\n\n

Poems mailed to friends, 1972<\/em><\/p>\n

[not addressed \u2013 no envelope]
\n[undated] \u2013 loose page
\n\u201cPrecipitate\u201d indeeds the word\u2026\u201d
\n<\/em>\u00a0<\/em>In ink; one page<\/p>\n

\u00a0<\/em>[not addressed \u2013 no envelope]
\nJuly 23, 1972 plus variations in October 1972 version
\n\u201cLove Song\u201d
\n<\/em>\u00a0<\/em>Typed; one page<\/p>\n

To: Dr. J. S. Watson, Jr.
\n1972? \u2013 no postmark on envelope
\n\u201cMy fondest wish\u201d
\n<\/em>In ink; 2 pages<\/p>\n

[not addressed- no envelope]
\n1972?
\n\u201cI\u2019m harried and haunted by all that has happened\u201d
\n<\/em>Typed; one page
\n<\/em>\u201cDid I ever send you this one?\u201d in ink at bottom<\/p>\n

[not addressed \u2013 no envelope]
\n1972
\n\u201cJust now I felt as a slip-coach\u201d
\n<\/em>\u00a0<\/em>Typed; one page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJanuary 22, 1972 or 4? \u2013 postmarked Rochester, NY
\n\u201cLife exists like shells on sand\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson
\nJanuary 13, 1972 \u2013 postmarked N.Y.C., NY<\/p>\n

\u201cSimply to hold by one\u2019s side\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

\u201cThe arrogance of the living\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cFailure builds sinew and calluses\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cThe poet bursts from a circle\u2019s center\u201d
\n<\/em>\u00a0<\/em>In ink; one page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 13, 1972 \u2013 postmarked U.S.P.S. NY 144<\/p>\n

\u201cI shall continue to cling\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nApril 21, 1972 \u2013 postmarked U.S.P.S. NY 144<\/p>\n

\u201cI saw a dozen squills\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cA poet needs\u201d
\n<\/em>In ink; one page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nApril 29, 1972 \u2013 postmarked Key West, FL<\/p>\n

\u201cProfession\u201d
\n<\/em>In ink; one page<\/p>\n

\u201cSpeculation\u201d
\n<\/em>In ink; one page<\/p>\n

\u201cTo a parlor poet\u201d
\n<\/em>\u00a0<\/em>In ink; one page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMay 12, 1972 \u2013 postmarked O\u2019Hare, IL
\n\u201cThe inconsequence of human life\u201d
\n<\/em>\u00a0In ink; 2 pages<\/em><\/p>\n

\u00a0<\/em>To: Dr. J. S. Watson, Jr.
\nMay 14, 1972 \u2013 postmarked Chicago, IL
\n\u201cWhen swelling buds make a violet haze\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJuly 11, 1972 \u2013 postmarked N.Y.C., NY
\n\u201cBefore the hand of man\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJuly 23, 1972 \u2013 postmarked N.Y.C., NY
\n\u201cLove song\u201d <\/em>[original version]
\nIn ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nAugust 7, 1972 \u2013 postmarked Key West, FL
\n\u201cThe goblins are with us, they\u2019re marching about\u201d
\n<\/em>In ink; 3 pages<\/p>\n

\u00a0<\/em>To: Dr. J. S. Watson, Jr.
\nAugust 14, 1972 \u2013 postmarked N.Y.C., NY<\/p>\n

\u201cPIBROCH OR DONUIL DHU\u201d
\n<\/em>\u00a0<\/em>In ink; one page
\nPhotocopy included<\/p>\n

\u00a0<\/em>To: Dr. J. S. Watson, Jr.
\nSeptember 26, 1972 \u2013 postmarked N.Y.C., NY
\n\u201cWhy don\u2019t you stop dressing up in dead animals?\u201d
\n<\/em>In ink; one page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nOctober, 1972 \u2013 postmarked Key West, FL
\n\u201cIn the face of despair\u201d
\n<\/em>\u00a0<\/em>In ink; one page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nOctober 17, 1972 \u2013 postmarked U.S.P.S. NY 144
\n\u201cHow can the passions of poets\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nOctober 19, 1972 \u2013 postmarked U.S.P.S. NY 144
\nSent in 111 East Ave envelope<\/p>\n

\u201cThe dead and the dying\u201d
\n<\/em>\u00a0<\/em>In ink; 3 pages<\/p>\n

\u201cBeginnings are atlases\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cJazz\u201d
\n<\/em>In ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nOctober 20, 1972 \u2013 postmarked N.Y.C., NY
\nSent in Algonquin envelope<\/p>\n

\u201cOnce I wrote\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cOne of my few joys\u201d
\n<\/em>In ink; 4 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nOctober 30, 1972 \u2013 postmarked Key West, FL
\n\u201cLove song\u201d<\/em> [later version \u2013 for original see first document in folder]
\nIn ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nNovember 3, 1972 \u2013 postmarked U.S.P.S. NY 144
\n\u201cFame\u201d
\n<\/em>In ink; 5 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nNovember 6, 1972 \u2013 postmarked U.S.P.S. NY 144
\n\u201cBirds of America\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nNovember 6, 1972 \u2013 postmarked U.S.P.S. NY 144<\/p>\n

\u201cThe questions which have gripped my addled mind\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cThoughts on resurrection\u201d
\n<\/em>In ink; one page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nNovember 8, 1972 \u2013 postmarked U.S.P.S. NY 144
\n\u201cJust now I felt as a slip-coach\u201d
\n<\/em>In ink; 5 pages<\/em><\/p>\n

To: Dr. J. S. Watson, Jr.
\nNovember 11, 1972 \u2013 postmarked U.S.P.S. NY 144
\n\u201cSitting by a freshly filled in grave\u201d
\n<\/em>In ink; 3 pages<\/p>\n

\u201c I hear the self-elected critics\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nNovember 19, 1972 \u2013 postmarked U.S.P.S. NY 144
\n\u201cTo lovers of rhyme\u201d
\n<\/em>\u00a0<\/em>In ink; 3 pages<\/p>\n

\u201cIt\u2019s a cellar\u201d
\n<\/em>In ink; 2 pages<\/p>\n

[not addressed \u2013 no envelope]
\n1972
\n\u201cCould Charles Dana Gibson draw Ibsen?\u201d
\n<\/em>In ink; one page
\nHandwriting of Dr. J. S. Watson, Jr.<\/p>\n<\/td>\n<\/tr>\n

folder 7<\/strong><\/td>\n\n

Poems mailed to friends, 1973-1974<\/em><\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 9, 1973 \u2013 postmarked George Town, Cayman Islands
\n\u201cDiary II\u201d
\n<\/em>In ink; one page<\/p>\n

\u00a0<\/em>To: Dr. J. S. Watson, Jr.
\nMarch 22, 1973 \u2013 postmarked U.S.P.S. CA 940
\n\u201cI hear the merchants plot their bloody, bloodless battle plans\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMay 31, 1973 \u2013 postmarked U.S.P.S. NY 144
\n\u201cI prefer the quiet time\u201d
\n<\/em>In ink; two pages<\/p>\n

\u201cAs the funnel narrows\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nSeptember 7, 1973 \u2013 postmarked Nantucket, MA
\n\u201cTravelling salesmen learn to live\u201d
\n<\/em>\u00a0<\/em>In ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nSeptember 12, 1973 \u2013 postmarked U.S.P.S. NY 144
\n\u201cRecognition\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nSeptember 26, 1973 \u2013 postmarked U.S.P.S. NY 144<\/p>\n

\u201cSounds\u201d
\n<\/em>\u00a0<\/em>In ink; 4 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nFrom October 4, 1973 letter [see correspondence box 2 folder 6]
\n\u2013 postmarked U.S.P.S. NY 144
\n\u201cIs it round or as square as a table?\u201d
\n<\/em>In ink; 2 pages<\/p>\n

[not addressed \u2013 no envelope, perhaps also from October 4, 1973 letter]
\n\u201cAttitudinizing\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nOctober 21, 1973 \u2013 postmarked U.S.P.S. NY 144
\n\u201cDid you ever see a quiet country town\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u00a0<\/em>To: Dr. J. S. Watson, Jr.
\nNovember 15, 1973 \u2013 postmarked U.S.P.S. NY 144
\n\u201cIf there is beauty in you\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

[not addressed \u2013 no envelope, 1974?]
\nIs the coward more inclined to sadness than the hero?\u201d
\n<\/em>In ink; 2 pages<\/p>\n

Envelope addressed to J. S. Watson, Jr.
\nApril 20, [1974?] – postmarked U.S.P.S. NC 275
\n\u201cSuch a dark flirtation <\/em>[sic] with death<\/em>
\n\u201c<\/em>In ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJune 4, 1974 \u2013 postmarked U.S.P.S. NY 144
\n\u201cThe poets know\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJune 26, 1974 \u2013 postmarked U.S.P.S. NY 144
\n\u201cThe white-haired man in the peaked cap\u201d
\n<\/em>In ink; one page<\/p>\n<\/td>\n<\/tr>\n

folder 8<\/strong><\/td>\n\n

Poems mailed to friends, 1975<\/em><\/p>\n

\u00a0<\/em>To: Dr. J. S. Watson, Jr.
\nNo postmark \u2013 1975
\n\u201cIf I should wake before I die\u201d
\n<\/em>In ink; one page<\/p>\n

[not addressed, no envelope]
\nMarch 6, 1975
\n\u201cThe succulence of Trollope\u2019s scallops\u201d
\n<\/em>Photocopy of original in AW\u2019s hand, 2 pages; plus two typed copies, 2 pages<\/p>\n

\u201cI love the ladies with gracious ways\u201d
\n<\/em>Two typed copies on same page as typed copy of \u201cThe succulence of Trollope\u2019s scallops\u201d<\/em><\/p>\n

\u00a0<\/em>To: Dr. J. S. Watson, Jr.
\nMarch 29, 1975 \u2013 postmarked U.S.P.S. NY 144
\n\u201cWhen the poet ages\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nApril 13, 1975 \u2013 postmarked N.Y.C.. NY
\n\u201cI write my private thoughts to you\u201d
\n<\/em>In in; one page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nApril 21, 1975 \u2013 postmarked U.S.P.S. NY 144
\n\u201cIn defense of rhyme?\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJune 19, 1975 \u2013 postmarked U.S.P.S. NY 144
\n\u201cTime\u201d
\n<\/em>In ink; one page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJune 20, 1975 \u2013 postmarked U.S.P.S. NY 144
\n\u201cThe cynic\u201d
\n<\/em>In ink; 4 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJuly 12, 1975 \u2013 postmarked U.S.P.S. NY 144
\n\u201cPoets at their business posts\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJuly 16, 1975 \u2013 postmarked U.S.P.S. NY 144
\n\u201cWhen you start needing the beloved dead\u201d
\n<\/em>In ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nAugust 18, 1975 \u2013 postmarked N.Y.C., NY
\n\u201cAttack!\u201d
\n<\/em>In ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nAugust 20, 1975 \u2013 postmarked N.Y.C., NY
\n\u201cI blossom as I wither\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nAugust 20, 1975 \u2013 postmarked N.Y.C., NY
\n\u201cWatch them as they seek a substitute for God\u201d
\n<\/em>In ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nAugust 22, 1975 \u2013postmarked N.Y.C., NY
\n\u201cIn honor of little reason and much rhyme\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nAugust 25, 1975 \u2013postmarked U.S.P.S. MA 012
\n\u201cThat Berkshire hill\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nSeptember 8, 1975 \u2013postmarked N.Y.C., NY
\n\u201cWarning!\u201d
\n<\/em>\u00a0<\/em>In ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nSeptember 19, 1975 \u2013postmarked U.S.P.S. NC 280
\n\u201cFrustration\u201d
\n<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nSeptember 24, 1975 \u2013postmarked N.Y.C., NY
\n\u201cWhen casual crowds collect\u201d
\n<\/em>In ink; 1 page<\/p>\n

\u201cAdmonition to perennials\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nOctober 14, 1975 \u2013postmarked N.Y.C., NY
\n\u201cOdd that one who has moved as much as I\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page<\/p>\n

To: Hildegarde Watson
\nOctober 14, 1975 \u2013postmarked N.Y.C., NY
\n\u201cIt\u2019s sadder than you might believe\u201d
\n<\/em>In ink; 1 page
\nIncludes one photocopy<\/p>\n

To: Dr. J. S. Watson, Jr.
\nOctober 23, 1975 \u2013postmarked N.Y.C., NY
\n\u201cIt\u2019s a long thin lake\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nNovember 24, 1975 \u2013postmarked N.Y.C., NY
\n\u201cIt can\u2019t be other than sad\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.|
\nDecember 1, 1975 [date received per note in JSW\u2019s hand]
\n\u201cI\u2019m told of a man who sings while he eats\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page
\nTyped copy<\/p>\n

To: Dr. J. S. Watson, Jr.
\nDecember 26, 1975 \u2013postmarked N.Y.C., NY
\n\u201cUpstairs\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page<\/p>\n<\/td>\n<\/tr>\n

folder 9<\/strong><\/td>\n\n

Poems mailed to friends, 1976<\/em><\/p>\n

To: Dr. J. S. Watson, Jr.
\n[\u201cReceived unsealed at NY NY 10001\u201d on envelope \u2013 sent from NYC, NY]
\n[no date – 1976]
\n\u201cI\u2019ve settled my score with the macrocosmic\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page<\/p>\n

[undated, no envelope]
\n\u201cApologia\u201d
\n<\/em>1976
\nIn ink; one page
\nWith 2 photocopies<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJanuary 31, 1976 \u2013postmarked George Town, Cayman Islands
\n\u201cParable\u201d
\n<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nFebruary 1976 \u2013postmarked NY
\n\u201cZen monastery\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nFebruary 5, 1976 \u2013postmarked Miami, FL
\n\u201cUpstairs #2\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nFebruary 6, 1976 \u2013postmarked N.Y.C., NY
\n\u201cOld age is treated like an ailment\u201d
\n<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nFebruary 20, 1976 \u2013postmarked N.Y.C., NY
\n\u201cIn spite of the wine\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nFebruary 25, 1976 \u2013postmarked N.Y.C., NY
\n\u201cThe last open door\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 1, 1976 \u2013postmarked N.Y.C., NY
\n\u201cMore about age\u201d
\n<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 2, 1976 \u2013postmarked N.Y.C., NY
\n\u201cManic depressive??\u201d
\n<\/em>In ink; 2 pages
\nWith one photocopy<\/p>\n

To: Hildegarde Watson
\nMarch 2, 1976 \u2013postmarked N.Y.C., NY
\n\u201cI fall in love with strangers\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 3, 1976 \u2013postmarked N.Y.C., NY
\n\u201cAs a vulture\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 6, 1976 \u2013postmarked Columbia, SC
\n\u201cStop looking for answers!\u201d
\n<\/em>\u00a0<\/em>In ink; 4 pages<\/p>\n

[not addressed, no envelope]
\nMarch 9, 1976
\n\u201cDid Eith <\/em>[sic] Cavell ever meet M. Ravel?\u201d
\n<\/em>In ink; one page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 10, 1976 \u2013postmarked N.Y.C., NY
\n\u201cMen of vision walked about Athens\u201d
\n<\/em>In ink; 2 pages
\nWith one typed copy<\/p>\n

To: Hildegarde Watson
\nMarch 11, 1976 \u2013postmarked N.Y.C., NY
\n\u201cI find it strange\u201d
\n<\/em>In ink; 4 pages
\nWith one photocopy<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 12, 1976 \u2013postmarked N.Y.C., NY
\n\u201cA stranger, a shy young man\u201d
\n<\/em>In ink; 4 pages
\nWith typed copy<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 12, 1976 \u2013postmarked N.Y.C., NY
\n\u201cSoothsayers and the tea-leaf readers\u201d
\n<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 13, 1976 \u2013postmarked N.Y.C., NY
\n\u201cDear, dear friend\u201d
\n<\/em>\u00a0<\/em>In ink; 4 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 16, 1976 \u2013postmarked N.Y.C., NY
\n\u201cAn adherent of Trotsky I doubt was Blavatsky\u201d
\n<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 18, 1976 \u2013postmarked N.Y.C., NY
\n\u201cI try to refuse\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 18, 1976 \u2013postmarked N.Y.C., NY
\n\u201cMen of vision walked about Athens\u201d
\n<\/em>Typed, with edits in ink<\/p>\n

\u201cDid Edith Cavell ever meet M. Ravel?\u201d
\n<\/em>Typed with edits
\nAccompanied by note in ink from AW noting corrections for J. S. Watson, Jr. to type up for him<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 22, 1976 \u2013postmarked N.Y.C., NY
\n\u201cDoes size create more meaning?\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page<\/p>\n

To: Hildegarde Watson
\nMarch 22, 1976 \u2013postmarked N.Y.C., NY
\n\u201cWould you be more impressed\u201d
\n<\/em>In ink; 2 pages
\nWith one photocopy<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 23, 1976 \u2013postmarked N.Y.C., NY
\n\u201cMy hunger is to prove\u201d
\n<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 24, 1976 \u2013postmarked N.Y.C., NY
\n\u201cApologia #98\u201d
\n<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 25, 1976 \u2013postmarked N.Y.C., NY
\n\u201cProfessional point of view\u201d
\n<\/em>\u00a0<\/em>In ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 25[?], 1976 \u2013postmarked N.Y.C., NY
\n\u201cIf the CIA were to question me\u201d
\n<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 29, 1976 \u2013postmarked N.Y.C., NY
\n\u201cKeep thinking of the fingers of the willow\u201d
\n<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nApril 1, 1976 \u2013postmarked Jacksonville, FL
\n\u201cTake your pick\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nApril 14, 1976 \u2013postmarked N.Y.C., NY
\n\u201cAs I and Uta Hagan approach the big toboggan\u201d
\n<\/em>In ink; 1 page
\nWith three photocopies of original, one typed copy with, \u201cThe Toboggan <\/em>by Alec Wilder 4- 14-76\u201d written in J.S.W\u2019s hand, and photocopy of typed version<\/p>\n

To: Dr. J. S. Watson, Jr.
\nApril 17, 1976 \u2013postmarked Madison, WI
\n\u201cMore of you are ghosts to me\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nApril 20, 1976 \u2013postmarked Madison, WI
\n\u201cPosterity\u201d
\n<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMay 8, 1976 \u2013postmarked Indianapolis, IN
\n\u201cAfter I ride on a long distance train\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages
\nPlus one photocopy and one typed copy<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMay 22, 1976 \u2013postmarked U.S.P.S. MA 021
\n\u201cDo anything too much except demand\u201d
\n<\/em>In ink; 1 page<\/p>\n

To: Hildegarde Watson
\nJune 1, 1976 \u2013postmarked N.Y.C., NY
\n\u201cNever fear forgetting!\u201d
\n<\/em>In ink; 1 page
\nWith two photocopies<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJuly 5, 1976 \u2013postmarked N.Y.C., NY
\n\u201cOld women praying\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJuly 14, 1976 \u2013postmarked N.Y.C., NY
\n\u201cAcknowledging nettles from old herbacious\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

\u201cClassroom mid-west Eliot\u201d
\n<\/em>In ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJuly 19, 1976 \u2013postmarked N.Y.C., NY
\n\u201cWhen did I discover\u201d
\n<\/em>In ink; 2 pages<\/p>\n<\/td>\n<\/tr>\n

folder 10<\/strong><\/td>\n\n

Poems mailed to friends, 1977<\/em>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/em><\/p>\n

To: Dr. J. S. Watson, Jr.|
\nMay 31, 1977 \u2013postmarked N.Y.C., NY
\n\u201cOh, that long, hooded file of silent choices\u201d
\n<\/em>In ink; 1 page
\nWritten on Algonquin stationary
\nWith one photocopy<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJune 5, 1977 \u2013postmarked N.Y.C., NY
\n\u201cThe thunderstorm outside\u201d
\n<\/em>In ink; 3 pages
\n\u201cOnce I thought that any tree\u201d<\/em>
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJune 6, 1977 \u2013postmarked N.Y.C., NY
\n\u201cA life\u201d
\n<\/em>In ink; 3 pages
\nWith one photocopy<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJune 7, 1977 \u2013postmarked N.Y.C., NY
\n\u201cChatterton wrote and forged\u201d
\n<\/em>\u00a0<\/em>In ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJune 8, 1977 \u2013postmarked Rochester, NY
\n\u201cUpstairs revisited\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJuly 2, 1977 \u2013postmarked N.Y.C., NY
\n\u201cI love ladies with gracious ways\u201d
\n<\/em>In ink; 1 page
\nWith one photocopy<\/p>\n

\u201cThe succulence of trollope\u2019s scallops\u201d
\n<\/em>In ink; 2 pages
\nWith one typed copy<\/p>\n

To: Dr. J. S. Watson, Jr.
\nAugust 16, 1977 \u2013postmarked N.Y.C., NY
\n\u201cMy friend\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

\u201cI was a coward\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

\u201cInnocent objects, euphonious sounds\u201d
\n<\/em>In ink; one page<\/p>\n

\u201cAdrenalin\u201d
\n<\/em>In ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nDecember 30, 1977 \u2013postmarked Kansas City, MC
\n\u201cTwo beginnings\u201d
\n<\/em>In ink; 3 pages
\nWith one photocopy<\/p>\n<\/td>\n<\/tr>\n

folder 11<\/strong><\/td>\n\n

Poems mailed to friends, 1978<\/em><\/p>\n

[not addressed, no envelope \u2013 1978?]
\n\u201cGratitude\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJanuary 24, 1978 \u2013postmarked N.Y.C., NY
\n\u201cThe phoenix\u201d
\n<\/em>In ink; 3 pages
\nWith one photocopy<\/p>\n

To: Dr. J. S. Watson, Jr.
\nFebruary 4, 1978 \u2013postmarked Charleston, SC
\n\u201cOh the plotted and the planned\u201d
\n<\/em>In ink; 1 page
\nWith one photocopy<\/p>\n

To: Dr. J. S. Watson, Jr.
\nFebruary 6, 1978 \u2013postmarked Charleston, SC
\n\u201cWell, you idiot!\u201d
\n<\/em>In ink; 1 page
\n\u201cYou swore you\u2019d never sit at a bar\u201d
\n<\/em>In ink; two pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nFebruary 12, 1978 \u2013postmarked N.Y.C., NY
\n\u201cTwentieth Century Eulogy\u201d
\n<\/em>In ink; 2 pages
\nWith one photocopy<\/p>\n

To: Dr. J. S. Watson, Jr.
\nFebruary 18, 1978 \u2013postmarked N.Y.C., NY
\n\u201cDilemma\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages
\nWith one photocopy<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMarch 15, 1978 \u2013postmarked George Town, Cayman Islands
\n\u201cTeapot tempest\u201d
\n<\/em>In ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nMay 8, 1978 \u2013postmarked Rochester, NY
\n\u201cWhy don\u2019t you two go away together?\u201d
\n<\/em>In ink; 1 page
\nWith two photocopies<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJune 15, 1978 \u2013postmarked N.Y.C., NY
\n\u201cMem\u2019ry\u201d
\n<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJune 26, 1978 \u2013postmarked Rochester, NY
\n\u201cWhen Tennyson was chosen Laureate\u201d
\n<\/em>In ink; 3 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJune 26, 1978 [?] \u2013postmarked Bangor, ME
\n\u201cNot eye but my rhyme\u201d
\n<\/em>includes letter to JSW
\nPhotocopy; 3 pages
\nOriginal in correspondence box 2, folder 9<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJuly 6, 1978 \u2013postmarked Rochester., NY
\n\u201cTribute\u201d
\n<\/em>In ink; one page<\/p>\n

\u201cOnce more to prophets\u201d
\n<\/em>\u00a0In ink; one page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJuly 28, 1978 \u2013postmarked Blue Hill, ME
\n\u201cShall I ever know\u201d
\n<\/em>In ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.|
\nSeptember 18, 1978 \u2013postmarked N.Y.C., NY
\n\u201cThe jack-booted tramp of egos\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

\u201cGroup therapy\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

\u00a0\u201cA crownless king\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

[not addressed, no envelope]
\nSeptember 22, 1978 \u2013no postmark
\n\u201c98th<\/sup> Search\u201d
\n<\/em>In ink; 2 pages<\/p>\n

[not addressed, no envelope]
\nOctober 26, 1978 \u2013no postmark
\n\u201cMaudlin imagery is for the middle class\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nDecember 15, 1978 \u2013postmarked George Town, Cayman Islands
\n\u201cI don\u2019t mind going into that longest, endless dark\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 3″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615489088116{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nPoems mailed to friends, 1979
\n<\/em>[not addressed, no envelope]
\n1979?
\n\u201cThe Guest\u201d<\/em>
\n<\/em>In ink; one page[not addressed, no envelope]
\n1979?
\n\u201cThe one who writes this truly knows the value of this treasure\u201d<\/em>
\n<\/em>In ink; one page [possibly page two of another poem][not addressed, no envelope]
\n<\/em>1979?
\n\u201cDoctors and Patience\u201d<\/em>
\n<\/em>Transcribed in purple
\nink; 2 pages[not addressed, no envelope]
\n<\/em>1979?
\n\u201cThe jack-booted tramp of egos\u201d<\/em>
\n<\/em>In ink; one page
\nSecond copy – transcribed in purple ink; one pageTo: Dr. J. S. Watson, Jr.
\nMay 20, 1979 \u2013postmarked N.Y.C., NY
\n\u201cApologize?\u201d<\/em>
\n<\/em>In ink; 2 pages To: Dr. J. S. Watson, Jr.
\nMay 23, 1979 \u2013postmarked Rochester, NY
\n\u201cMy friend proffers an elusive smile\u201d<\/em>
\n<\/em>In ink; 3 pages To: Dr. J. S. Watson, Jr.
\nMay 24, 1979 \u2013postmarked Rochester, NY
\n\u201cPosterity? Not for a minute!\u201d<\/em>
\n<\/em>In ink; 1 page
\nEdit to the end of the last poem AW sent to JSW To: Dr. J. S. Watson, Jr.
\nJuly 12, 1979 \u2013postmarked N.Y.C., NY
\n\u201cDeath wasn\u2019t precisely a gym\u201d<\/em>
\n<\/em>In ink; 1 pageTo: Dr. J. S. Watson, Jr.
\nOctober 3, 1979 \u2013postmarked N.Y.C., NY
\n\u201cFor Frances\u201d<\/em>
\n<\/em>In ink; 1 page
\nWritten on the back of \u201cEmilio Ristorante\u201d menuTo: Dr. J. S. Watson, Jr.
\nOctober 8, 1979 \u2013postmarked N.Y.C., NY
\n\u201cAnother search\u201d<\/em>
\n<\/em>In ink; 1 page
\nTranscribed in purple ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nOctober 14, 1979 \u2013postmarked N.Y.C., NY
\n\u201cGuess what?!\u201d<\/em>
\n<\/em>In ink; 1 page
\nTranscribed in purple ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nOctober 14, 1979 \u2013postmarked N.Y.C., NY
\n\u201cI love you in stone\u201d<\/em>
\n<\/em>In ink; 1 page
\nTranscribed in purple ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nOctober 14, 1979 \u2013postmarked N.Y.C., NY
\n\u201cPubic hair is poison ivy\u201d<\/em>
\n<\/em>In ink; 1 page
\nTranscribed in purple ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nOctober 14, 1979 \u2013postmarked N.Y.C., NY
\n\u201cYou can\u2019t wait; you\u2019re mortal\u201d<\/em>
\n<\/em>In ink; 2 pages
\nTranscribed in purple ink; 2 pages<\/p>\n

To: Dr. J. S. Watson, Jr.
\nDecember 10, 1979 \u2013postmarked N.Y.C., NY
\n\u201cThe flickering under-water blue\u201d<\/em>
\n<\/em>In ink; 2 pages<\/p>\n

One photocopy of poem; 2 pages<\/p>\n

Two photocopies of front and back of envelope; 4 pages<\/p>\n

Original envelope not present; see correspondence box 2 folder 10<\/p>\n

To: Dr. J. S. Watson, Jr.
\nApril 7, 1980 \u2013postmarked N.Y.C., NY
\n\u201cAt 73\u201d<\/em>
\n<\/em>In ink; 1 page<\/p>\n

To: Dr. J. S. Watson, Jr.
\nJune 16, 1980 \u2013postmarked N.Y.C., NY
\n\u201cPutting words to paper\u201d<\/em>
\n<\/em>In ink; 1 page<\/p>\n<\/td>\n<\/tr>\n

folder 2<\/strong><\/td>\n\n

Miscellaneous poems, manuscript<\/em><\/p>\n

\u201cBeauty! Art! Wit!\u201d <\/em>\u2013 [undated]
\n<\/em>Photocopy; 2 pages<\/p>\n

\u201cWould any of you like to know\u201d<\/em> \u2013 <\/em>January 22, 1968
\nIn ink; 2 pages<\/p>\n

\u201cMy fondest wish\u201d<\/em> \u2013 [undated]
\nOriginal not present
\nTranscribed in purple ink; 3 pages<\/p>\n

\u201cThe sexual act at its best\u201d<\/em> \u2013 [undated]
\n<\/em>In ink; one page<\/p>\n

\u201cI guess that when the end of it\u201d <\/em>\u2013 [undated]
\n<\/em>In ink; one page<\/p>\n

Written on the back of book jacket for \u201cWolf to the Slaughter\u201d by Ruth Rendell<\/p>\n

\u201cMonkey-shines\u201d <\/em>\u2013 [undated]
\n<\/em>In ink; 2 pages<\/p>\n

\u201cSome celestial accountant\u201d<\/em> \u2013 [undated]
\nIn ink; 2 pages<\/p>\n

Envelope<\/em><\/p>\n

To: Hildegarde Watson
\nFrom: AW<\/p>\n

Postmarked April 19, 1976 – Madison WI
\nNo letter accompanying envelope<\/p>\n

\u201cWhitman Revisited\u201d<\/em>
\n<\/em>In ink; 3 pages<\/p>\n

\u201cDiary\u201d<\/em>
\n<\/em>In ink; 3 pages<\/p>\n

\u201cI wrote you once of reverence\u201d<\/em>
\n<\/em>In ink; one page\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/p>\n

\u201cTo J.S.W. from A.L.C.W.\u201d written in heading
\nNotes in JSW\u2019s hand on reverse<\/p>\n<\/td>\n<\/tr>\n

folder 3<\/strong><\/td>\n\n

Miscellaneous poems, typescript<\/em>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/em><\/p>\n

\u201cIntroducing A.W.\u201d \u2013 [undated]
\n<\/em>Typed twice on same page; corrections noted in ink and pencil<\/p>\n

On reverse:
\n\u201cPaging A.W.\u201d<\/em>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/em><\/p>\n

Typed twice on same page; note in pencil
\nProvenance: Dr. J. S. Watson, Jr.<\/p>\n

\u201cI\u201d <\/em>[and] \u201cII\u201d <\/em>\u2013 March 20, 1966
\n4 copies of both poems on same page
\n3 copies of each poem individually<\/p>\n

\u201cThere\u2019s a marvelous mystery\u201d <\/em>\u2013 May 1966
\n<\/em>2 copies; 2 pages each
\n\u201cFrom AW 5 \u201966\u201d written in pencil in upper right corner<\/p>\n

\u201cOn showing off\u201d <\/em>\u2013 May 1966
\n<\/em>2 copies; one page each
\n\u201cFrom AW 5-66\u201d written in pencil in upper right corner<\/p>\n

\u201cWhy do I steam about\u201d<\/em> \u2013 May 1966
\n<\/em>2 copies; one page each
\n\u201cFrom AW 5 \u201966\u201d written in pencil in upper right corner<\/p>\n

\u201cPoor little children!\u201d<\/em> \u2013 [undated]
\n<\/em>2 copies; one page each<\/p>\n

\u201cPavane for the U.S.\u201d <\/em>\u2013 April 25, 1966
\n<\/em>2 copies; one page each<\/p>\n

\u201cThe reassurance that comes\u201d <\/em>\u2013 April 25, 1966
\n<\/em>2 copies; one page each<\/p>\n

\u00a0<\/em>\u201cPlease shoot the piano player\u201d <\/em>\u2013 April 25, 1966
\n<\/em>2 copies; one page each<\/p>\n

\u201cMarch\u201d <\/em>\u2013 April 25, 1966
\n<\/em>2 copies; one page each<\/p>\n

\u201cJazz Waltz\u201d <\/em>\u2013 April 25, 1966
\n<\/em>2 copies; two pages each<\/p>\n

\u201cA ditty\u201d <\/em>\u2013 April 25, 1966
\n<\/em>2 copies; one page each<\/p>\n

\u201cIn order to speak or write of death\u201d <\/em>\u2013 April 25, 1966
\n<\/em>2 copies; one page each<\/p>\n

\u201cThe lost wallet, glasses,\u201d <\/em>\u2013 April 25, 1966
\n<\/em>2 copies; one page each<\/p>\n

\u201cCould Charles Dana Gibson\u201d <\/em>\u2013 March 10, 1976
\n<\/em>One copy; one page<\/p>\n

\u201cTwo poems by A. Wilder\u201d <\/em>\u2013 September 29, 1967
\n<\/em>3 copies; one page each<\/p>\n

\u201cWould any of you like to know\u201d <\/em>\u2013 January 22, 1968
\nOne copy; one page<\/p>\n

\u201cI guess that when the end of it\u201d <\/em>\u2013 July 12, 1968
\n<\/em>One copy; one page<\/p>\n

\u201cSuch a dark flirtation with death\u201d<\/em> \u2013 [undated]
\n<\/em>One copy; one page<\/p>\n

\u201cThat he was thirty five\u201d <\/em>\u2013 [undated]
\n<\/em>One copy; one page<\/p>\n

\u201cA crownless king\u201d <\/em>\u2013 [undated]
\n<\/em>2 copies; one page each<\/p>\n

\u201cGroup therapy\u201d <\/em>\u2013 [undated]
\n<\/em>One copy; one page<\/p>\n

\u201cSome new year resolutions\u201d<\/em> \u2013 [undated]
\nOne copy; printed on a greeting card<\/p>\n

\u201cThe Bird\u201d<\/em> \u2013 [undated]
\nExcerpt from the Eastman School Magazine<\/p>\n<\/td>\n<\/tr>\n

folder 4<\/strong><\/td>\nMiscellaneous poems, undated<\/em>
\n\u201cIn or out\u201d<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>
\nIn ink; 2 pages
\nOne copy; 2 pages\u201cO sea O sky O planet round\u201d
\nIn ink; 5 pages
\nWritten on Hotel Seneca stationary – Rochester, NY\u201cThe island trip with the jolly fellow\u201d<\/em>
\n<\/em>In ink; 2 pages
\n2 photocopies; 2 pages each\u201cWhat can I say to the sun from your sky?\u201d<\/em>
\n<\/em>In ink; 3 pages
\n\u201cYes for poetry book\u201d written on back in ink
\nOne photocopy; 3 pages\u201cParable\u201d<\/em>
\n<\/em>In ink; one page
\nOne photocopy; one page\u201cWhat was your mother\u2019s maiden name?\u201d<\/em>
\n<\/em>In pencil; two pages
\nOne photocopy; one page
\nOn reverse: \u201cI\u2019m looking for someone\u201d<\/em>
\n<\/em>Poem scratched out but still legible
\nIn pencil; one page
\nOne photocopy; one page
\nWritten on Sheraton Hotel stationary \u2013 Rochester, NY\u201cFor every evil under the sun\u201d<\/em>
\n<\/em>In purple ink (not AW\u2019s hand); one page\u201cThe cross we<\/span> bear\u201d<\/em>
\n<\/em>In ink; one page
\nOne photocopy; one page\u201cIt\u2019s becoming a chore, a trial\u201d
\n<\/em>Photocopy; 2 pages\u201cThe sexual act at its best\u201d<\/em>
\n<\/em>Photocopy; one page
\nOriginal in same box, folder 2<\/p>\n

\u201cUpstairs\u201d<\/em>
\n<\/em>4 photocopies; one manuscript [not in AW\u2019s hand]
\nOne page each<\/p>\n

Envelope
\nTo: Dr. James S. Watson, Jr.
\nFrom: AW
\nLikely contained the brown copy of the following three poems:
\n\u201cSkip a stone into the path of the sun\u201d<\/em>
\n<\/em>2 copies; one page each
\n\u201cWhen I look upon the evening\u201d
\n<\/em>2 copies; one page each
\n\u201cWhat a child knows\u201d<\/em>
\n<\/em>2 copies; one page each<\/p>\n<\/td>\n<\/tr>\n

folder 5<\/strong><\/td>\n\n

Poems sent by Arlene Bouras to Mrs. James Sibley Watson for AW\u2019s book<\/em><\/p>\n

\u00a0<\/em>October 1, 1981
\n<\/em>To: Mrs. James Sibley Watson
\nFrom: Arlene Bouras
\nLetter sent along with AW poem<\/p>\n

All letters in typescript:
\n\u201cI waited thirty years\u201d \u2013 <\/em>2 pages
\n\u201cHow extremely good\u201d \u2013 <\/em>1 page
\n\u201cHow can I boast\u201d <\/em>— 1 page
\n\u201cI am a gentleman, gentlemen\u201d \u2013 <\/em>1 page
\n\u201cIn good time\u201d \u2013 <\/em>1 page
\n\u201cJust because the answers\u201d — <\/em>1 page
\n\u201cA entered these doors a mere twenty years ago\u201d \u2013 <\/em>1 page
\n\u201cPlease tell me, Mr. Know-it-all\u201d \u2013 <\/em>1 page
\n\u201cBeverly, or whatever your name is\u201d \u2013 <\/em>1 page
\n\u201cLittle girl\u201d \u2013 <\/em>1 page
\n\u201cTrue posterity in the mind of a living man\u201d \u2013 <\/em>1 page
\n\u201cHow guarded are you?\u201d \u2013 <\/em>1 page
\n\u201cYou truly are actors.\u201d \u2013 <\/em>1 page
\n\u201cGoodbye! Goodbye!\u201d \u2013 <\/em>1 page
\n\u201cSuzannah, when a child\u201d \u2013 <\/em>2 pages
\n\u201cIf you want a lot\u201d \u2013 <\/em>1 page
\n\u201cIf it is at all possible to recognize the miracle of one\u2019s own self\u201d \u2013 <\/em>1 page
\n\u201cPoets write before illness and after\u201d \u2013 <\/em>1 page
\n\u201cThis is the sort of evening\u201d \u2013 <\/em>1 page
\n\u201cShall I take a memory course?\u201d \u2013 <\/em>1 page
\n\u201cCertainly you\u2019re good!\u201d \u2013 <\/em>1 page
\n\u201cMr. Lowell and I\u201d \u2013 <\/em>1 page
\n\u201cI salute you!\u201d \u2013 <\/em>2 pages
\n\u201cWe elder lechers\u201d \u2013 <\/em>1 page
\n\u201cLilacs once\u201d \u2013 <\/em>2 pages
\n\u201cAgnes day\u201d \u2013 <\/em>1 page
\n\u201cOnce there was a time\u201d \u2013 <\/em>1 page
\n\u201cRight now, my very dear\u201d \u2013 <\/em>1 page
\n\u201cNotice the scent of life?\u201d \u2013 <\/em>1 page
\n\u201cSo I\u2019ve run out of paper, said the word man\u201d \u2013 <\/em>1 page
\n\u201cYou\u2019re wrong!\u201d \u2013 <\/em>1 page
\n\u201cThey\u2019re waiting for you, Mister\u201d \u2013 <\/em>1 page
\n\u201cYou\u2019re sixty-two<\/em> years old\u201d \u2013 <\/em>1 page
\n\u201cI see you doing the quiet things\u201d \u2013 <\/em>1 page
\n\u201cThe child saw all the grownups\u201d \u2013 <\/em>1 page
\n\u201cBefore I\u2019d figured it out\u201d \u2013 <\/em>1 page
\n\u201cYou\u2019d never believe it, Mac\u201d \u2013 <\/em>1 page
\n\u201cDeath would have been a tougher assignment\u201d \u2013 <\/em>1 page
\n\u201cI\u2019ve tried to track this down\u201d \u2013 <\/em>1 page
\n\u201cThis is how easy it is\u201d \u2013 <\/em>1 page
\n\u201cI keep seeking small talk\u201d \u2013 <\/em>2 pages
\n\u201cI admit it\u201d \u2013 <\/em>1 page
\n\u201cMelange\u201d \u2013 <\/em>2 pages
\n\u201cI saw you, you terribly desirable one!\u201d \u2013 <\/em>1 page
\n\u201cTo the Helen who never launched\u201d \u2013 <\/em>1 page
\n\u201cHow horrid!\u201d \u2013 <\/em>1 page
\n\u201cPropriety\u201d \u2013 <\/em>1 page
\n\u201cDear, dear man\u201d \u2013 <\/em>2 pages
\n\u201cFor those of us who know\u201d \u2013 <\/em>1 page
\n\u201cMy dear, I am a dreadful snob\u201d \u2013 <\/em>1 page
\n\u201cSometimes, when your life is motionless\u201d \u2013 <\/em>3 pages
\n\u201cMy dearest enemy\u201d \u2013 <\/em>2 pages
\n\u201cI\u2019ll never forget you\u201d \u2013 <\/em>2 pages
\n\u201cIs this birth?\u201d \u2013 <\/em>2 pages
\n\u201cI mustn\u2019t dwell on your face\u201d \u2013 <\/em>1 page
\n\u201cFifty years from home\u201d \u2013 <\/em>2 pages
\n\u201c\u2018I\u2019 is not a very familiar word\u201d \u2013 <\/em>1 page
\n\u201cForgive me, ladies and gentlemen\u201d \u2013 <\/em>1 page
\n\u201cListen to the dear\u201d \u2013 <\/em>1 page
\n\u201cLet\u2019s get behind everything we sell\u201d \u2013 <\/em>1 page
\n\u201cI, the white man, stand dying\u201d \u2013 <\/em>1 page
\nNow, about secrets!\u201d \u2013 <\/em>1 page
\n\u201cMy doppelganger\u201d \u2013 <\/em>2 pages<\/p>\n<\/td>\n<\/tr>\n

folder 6<\/strong><\/td>\nPoems, manuscripts
\n<\/em>Provenance: Gift of Arlene Bouras (2\/23\/94)
\n\u201cHow extremely good\u201d
\n<\/em>\u00a0<\/em>In ink; one page\u00a0<\/em>\u201cHow can I boast\u201d
\n<\/em>In ink; one page\u201cI am a gentleman, gentlemen\u201d
\n<\/em>In ink; one page\u201cIn good time\u201d
\n<\/em>In ink; one page\u201cJust because the answers are spewing from my ticked-up mouth\u201d
\n<\/em>In ink; one page\u201cWait! Just one second!\u201d <\/em>scratched out on reverse; still legible\u201cA entered these doors a mere twenty years ago\u201d
\n<\/em>In ink; two pages
\nWritten on Santa Fe Super Chief stationary\u201cPlease tell me, Mr. Know-it-all\u201d
\n<\/em>In ink; two pages
\nWritten on Santa Fe Super Chief stationary\u201cBeverly, or whatever your name is\u201d
\n<\/em>n ink; one page
\nWritten on back of a dinner menu sales sheet from March 28, 1966\u201cNow, about secrets!\u201d
\n<\/em>In ink; 2 pages
\nWritten on Santa Fe Super Chief stationary<\/p>\n

\u201cLittle girl\u201d
\n<\/em>In ink; one page
\nWritten on the back of lead sheet manuscript<\/p>\n

\u201cTrue posterity in the mind of a living man\u201d
\n<\/em>In ink; one page
\nWritten on back of a luncheon menu sales sheet from March 28 [likely 1966]<\/p>\n

\u201cI, the white man, stand dying\u201d
\n<\/em>\u00a0<\/em>In ink; two pages
\nWritten on the back of letter to AW from Ernest Williams, Jr. dated May 17, 1964<\/p>\n

\u201cHow guarded are you?\u201d
\n<\/em>In ink; two pages
\nWritten on Santa Fe Super Chief stationary<\/p>\n

\u201cYou truly are actors.\u201d
\n<\/em>In ink; two pages
\nWritten on Santa Fe Super Chief stationary<\/p>\n

\u201cGoodbye! Goodbye!\u201d
\n<\/em>In ink; 2 pages
\nWritten on Broadway Limited Pennsylvania Railroad stationary<\/p>\n

\u201cSuzannah, when a child\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cFifty years from home\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cI musn\u2019t dwell on your face\u201d
\n<\/em>In ink; 1 page<\/p>\n

\u201cLilacs once\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cIs this birth?\u201d
\n<\/em>In ink; 4 pages
\nWritten on Golden State Rock Island Southern Pacific stationary<\/p>\n

\u201cI\u2019ll never forget you, little big one\u201d
\n<\/em>Partial ink and pencil; 4 pages
\nWritten on Golden State Rock Island Southern Pacific stationary<\/p>\n

\u201cAgnes day\u201d
\n<\/em>In pencil; 2 pages<\/p>\n

\u201cI waited thirty years\u201d
\n<\/em>In ink; 3 pages<\/p>\n

\u201cMy dear, I am a dreadful snob\u201d <\/em>[dated 7\/1\/64]\\
\nIn ink; 1 page<\/p>\n

\u201cSometimes, when your life is motionless\u201d
\n<\/em>In ink; 3 pages<\/p>\n

\u201cMelange\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cMy doppelganger\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

\u201cI saw you, you terribly desirable one!\u201d
\n<\/em>In ink; 1 page<\/p>\n

\u201cTo the Helen who never launched\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

\u201cHow horrid!\u201d
\n<\/em>In ink; 1 page<\/p>\n

\u201cPropriety\u201d
\n<\/em>\u00a0<\/em>In ink; 1 page<\/p>\n

\u201cOnce there was a time\u201d
\n<\/em>In ink; 2 pages
\nWritten on Broadway Limited Pennsylvania Railroad stationary<\/p>\n

\u201cRight now, my very dear\u201d
\n<\/em>In ink; 2 pages
\nWritten on Broadway Limited Pennsylvania Railroad stationary<\/p>\n

\u201cNotice the scent of life?\u201d
\n<\/em>In ink; 2 pages
\nWritten on Broadway Limited Pennsylvania Railroad stationary<\/p>\n

\u201cMy dearest enemy\u201d
\n<\/em>In ink; 4 pages
\nWritten on Broadway Limited Pennsylvania Railroad stationary<\/p>\n

\u201cYou\u2019d never believe it, Mac\u201d
\n<\/em>In ink; one page<\/p>\n

\u201cThe child saw all the grownups\u201d
\n<\/em>In ink; 1 page<\/p>\n

\u201cDeath would have been a tougher assignment\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cI see you doing the quiet things\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cYou\u2019re sixty-two<\/em> years old\u201d
\nIn ink; 1 page<\/p>\n

\u201cI\u2019ve tried to track this down\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cBefore I\u2019d figured it out\u201d
\n<\/em>In ink; 1 page<\/p>\n

\u201c\u2018Sleepy, sleep, sleep,\u2019 crooned the mother\u201d <\/em>[in envelope]
\nIn ink; 2 pages
\nWritten on Algonquin stationary<\/p>\n

On reverse: \u201cThe calling, the constant calling\u201d <\/em>[in envelope]
\nIn ink; 2 pages<\/p>\n

\u201cWe elder lechers\u201d
\n<\/em>In ink; 3 pages
\nWritten on Broadway Limited Pennsylvania Railroad stationary<\/p>\n

\u201cI salute you!\u201d
\n<\/em>In ink; 4 pages
\nWritten on Broadway Limited Pennsylvania Railroad stationary<\/p>\n

\u201cForgive me, ladies and gentlemen\u201d
\n<\/em>In ink; 1 page
\nWritten on the back of a paper placemat from the Milwaukee Road railroad<\/p>\n

\u201cMr. Lowell and I\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cEven Anden is God n\u2019 Even McNeice.\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cTake my hand, stranger\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cCommunication #1\u201d
\n<\/em>In ink; one page<\/em><\/p>\n

On reverse: \u201cCommunication #2\u201d
\n<\/em>In ink; one page<\/p>\n

\u201cAs you know\u201d
\n<\/em>In ink; 4 pages<\/p>\n

\u201cYou with tigress violence\u201d
\n<\/em>In ink; one page
\nWritten on unfolded Sheraton Hotel Rochester, NY envelope
\nNotes in ink on reverse<\/p>\n

\u201cSome summers ago\u201d
\n<\/em>In ink; one page
\nWritten on back of letter from Howard S. Richmond to AW about\u00a0 a meeting involving the two of them, Jean Palitz and Bill Engvick, dated August 8, 1963<\/p>\n

\u201cAs the slender bridge\u201d
\n<\/em>\u00a0<\/em>In ink; 2 pages<\/p>\n

\u201cA lady drew my face\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cHad I touched you\u201d
\n<\/em>In ink; 2 pages
\nWritten on Santa Fe Super Chief stationary<\/p>\n

\u201cPlease, God\u201d
\n<\/em>In ink; 2 pages
\nWritten on Santa Fe Super Chief stationary<\/p>\n

\u201cWhen I had a garden\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cYou simply won\u2019t believe it\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cI admit it\u201d
\n<\/em>In ink; 2 pages<\/p>\n

\u201cFrom more directions than I can stand\u201d
\n<\/em>\u00a0<\/em>In ink; 3 pages
\nWritten on Broadway Limited Pennsylvania Railroad stationary<\/p>\n

\u201cI\u2019m harried and haunted by all that has happened\u201d
\n<\/em>In ink; 4 pages<\/p>\n

\u201cNo one fears death\u201d
\n<\/em>In pencil; 2 pages<\/p>\n

\u201cI, as some worthies are, am an observer\u201d
\n<\/em>In ink; 2 pages<\/p>\n

    \n
  1. \u201cShall I take a memory course\u201d <\/em>(7\/15\/64)
    \nIn ink; 2 pages<\/li>\n
  2. \u201cCertainly, you\u2019re good!\u201d
    \n<\/em>In ink; 2 pages<\/li>\n
  3. \u201cWhat on earth are you going to do with me?!
    \n<\/em>In ink; 2 pages<\/li>\n
  4. \u201cA love song\u201d
    \n<\/em>In ink; 4 pages<\/li>\n
  5. \u201cHere goes a great big secret\u201d
    \n<\/em>In ink; 2 pages<\/li>\n
  6. \u201cMy dear, dear friend\u201d
    \n<\/em>In ink; 2 pages<\/li>\n
  7. \u201cTomorrow\u201d
    \n<\/em>In ink; 2 pages<\/li>\n
  8. \u00a0\u201cIn defense of indulgence”
    \n<\/em>In ink; 2 pages<\/li>\n
  9. \u201cMy!\u201d
    \n<\/em>In ink; 2 pages<\/li>\n
  10. \u201cWere I one given to prayer\u201d
    \n<\/em>In ink; 4 pages<\/li>\n
  11. \u201cHe needs a mite of taking care of\u201d
    \n<\/em>\u00a0<\/em>In ink; 3 pages<\/li>\n
  12. \u201cFor the frightened man\u201d
    \n<\/em>In ink; 3 pages<\/li>\n
  13. \u201cHave you been for your \u201cmental\u201d, lately?
    \n<\/em>In ink; one page<\/li>\n
  14. \u201cA prayer\u201d
    \n<\/em>In ink; one page<\/li>\n<\/ol>\n

    \u201cI keep seeing small talk\u201d (7\/28)
    \n<\/em>\u00a0<\/em>In ink; 3 pages<\/p>\n

    \u201cSweetie-pie!\u201d
    \n<\/em>In ink; 2 pages
    \nWritten on Santa Fe Super Chief stationary<\/p>\n

    \u201cDear wonderer\u201d
    \n<\/em>In ink; 2 pages
    \nWritten on Santa Fe Super Chief stationary<\/p>\n

    \u201cImagine, imaginary reader\u201d
    \n<\/em>\u00a0<\/em>In ink; one page
    \nWritten on Santa Fe Super Chief stationary<\/p>\n

    \u201cOkay!\u201d
    \n<\/em>In ink; 2 pages
    \nWritten on Santa Fe Super Chief stationary<\/p>\n

    \u201cFor those of us who know\u201d
    \n<\/em>In ink; 2 pages
    \nWritten on Santa Fe Super Chief stationary<\/p>\n

    \u201cNightmare #1\u201d
    \n<\/em>In ink; one page<\/p>\n

    \u201cNightmare #2\u201d
    \n<\/em>In ink; 4 pages
    \nWritten on Santa Fe Super Chief stationary<\/p>\n

    \u201cDarling little girl!\u201d
    \n<\/em>In ink; 2 pages<\/p>\n

    \u201cMy madness is a vaudeville joke\u201d
    \n<\/em>In ink; 2 pages<\/p>\n

    \u201cDear, dear man\u201d
    \n<\/em>In ink; 4 pages<\/p>\n

    \u201cMatriarchs of America!\u201d
    \n<\/em>In ink; 2 pages
    \nWritten on Santa Fe Super Chief stationary<\/p>\n

    \u201cMy darling!\u201d
    \n<\/em>In ink; 2 pages
    \nWritten on Santa Fe Super Chief stationary<\/p>\n

    \u201cHey! Old lovers!\u201d
    \n<\/em>In ink; 2 pages<\/p>\n

    \u201cHello, Dolly\u201d
    \n<\/em>In ink; one page<\/p>\n

    \u201cListen to the dear darling scream\u201d <\/em>[in envelope]
    \nIn ink; 3 pages (12.5cm x 7.5 cm)<\/p>\n

    \u201cThis is the sort of evening\u201d
    \n<\/em>In ink; 2 pages<\/p>\n

    \u201cPoets write before illness and after\u201d
    \n<\/em>In ink; 2 pages<\/p>\n

    \u201cPavane for America\u201d
    \n<\/em>In ink; 2 pages<\/p>\n

    \u201cThe reassurance that comes with idle, talk\u201d
    \n<\/em>In ink; 3 pages<\/p>\n

    \u201cPlease shoot the piano player\u201d
    \n<\/em>In ink; one page
    \nDated April 1966<\/p>\n

    \u201cMarch\u201d
    \n<\/em>In ink; one page<\/p>\n

    \u201cJazz waltz\u201d
    \n<\/em>In ink; 3 pages<\/p>\n

    \u201cA ditty\u201d
    \n<\/em>In ink; 2 pages<\/p>\n

    \u201cIn order to speak or write of death\u201d
    \n<\/em>In ink; one page<\/p>\n

    \u201cThe lost wallets, glasses\u201d
    \n<\/em>In ink; 2 pages<\/p>\n

    \u201cThe reassurance that comes with idle talk\u201d
    \n<\/em>In ink; 3 pages<\/p>\n

    \u201cPavane for the U.S.A.\u201d
    \n<\/em>In ink; 2 pages<\/p>\n

    \u201cWhy do I steam about looking slightly out of my mind?\u201d
    \n<\/em>In ink; 3 pages<\/p>\n

    \u201cPoor little children\u201d
    \n<\/em>In ink; 2 pages<\/p>\n

    \u2018There\u2019s a marvelous mystery\u201d
    \n<\/em>In ink; 4 pages<\/p>\n

    \u201cOn showing off\u201d
    \n<\/em>In ink; 2 pages<\/p>\n

    \u201cCummings said he\u2019d only met two lemmings\u201d
    \n<\/em>In ink; one page<\/p>\n

    \u201cShrieking\u201d <\/em>[marked as page 3]
    \nIn ink; one page
    \nWritten on the back of Hotel Algonquin stationary<\/p>\n

    \u201cLet\u2019s get behind everything we sell\u201d
    \n<\/em>In pencil; one page<\/p>\n

    \u201cOur hope\u2019s in soap\u201d
    \n<\/em>In pencil; one page<\/p>\n

    \u201cIf it is at all possible to recognize the miracle\u2026\u201d <\/em>[half-way down page]
    \nIn ink; one\u00a0 page<\/p>\n

    \u201cIf you want a lot\u201d<\/em> [continued at top of previous page]
    \nIn ink; 2 pages<\/p>\n

    Envelope \u2013 postmarked June 15, 1964 – Los Angeles, CA
    \nFrom: AW
    \nTo: Arlene Bouras<\/p>\n<\/td>\n<\/tr>\n

folder 7<\/strong><\/td>\nMiscellaneous poems from Bruce M. Creditor<\/em>
\n\u201cAfter societal hours, he becomes a cigarette glow\u201d<\/em>
\n<\/em>Typed; one page\u201cPro\u201d
\n<\/em>Typed; one page\u201cCon\u201d
\n<\/em>Typed; one page\u201cIf a man could be filled with an unholy joy\u201d
\n<\/em>Typed; one page\u201cLike a placid Harlequin\u201d<\/em>
\n<\/em>Typed; one page\u201cVacation\u201d
\n<\/em>Typed; three pages\u201cWhat on earth do you want?
\nIn ink; 3 pages\u201cThe psychosomatic waltz\u201d<\/em>
\n<\/em>Typed; one page<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nLyrics for eight songs of AW<\/em>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u201c
\nWhile we\u2019re young\u201d <\/em>(lyric by William Engvick)
\nTyped; one page\u201cI\u2019ll be around\u201d <\/em>(lyric by AW)
\nTyped; one page\u201cIt\u2019s so peaceful in the country\u201d <\/em>(lyric by AW)
\nTyped; two pages\u201c<\/em>Trouble is a man\u201d <\/em>(lyric by AW)
\nTyped; one page\u201cRemember, my child\u201d <\/em>(lyric by William Engvick)
\nTyped; one page\u201cThe winter of my discontent\u201d <\/em>(lyric by Ben Ross Barenberg)
\nTyped; one page\u201cWho can I turn to?\u201d <\/em>(lyric by William Engvick)
\nTyped; one page\u201c<\/em>Soft as spring\u201d<\/em> (lyric by AW)
\n<\/em>Typed; one page<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nPoems<\/em>
\n\u201cA life\u201d<\/em>
\n<\/em>Typed; one page
\n\u201cBy Alec Wilder\u201d written in JSW\u2019s hand\u201cGratitude\u201d<\/em>
\n<\/em>Typed; one page<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 4″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615489160821{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n
folder 1<\/strong><\/td>\nList of poems
\n<\/em>Contained within University of Rochester spiral-bound notebook
\nPages pertaining to AW in middle of notebook, between purple flags
\nIn ink; 19 pages in J. S. Watson Jr.\u2019s hand
\nFirst page dated January 17, 1966
\nIndex of first lines dated August 18, 1965
\nIn ink; 2 pages titled, \u201cComplete List\u201d and \u201cMistakes and dupes\u201d with numbered lists. [Not J. S. Watson\u2019s hand – perhaps Arlene Bouras?]
\nFirst carbons dated February 14, 1966<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1615918911939{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Sub-series 2: Prose<\/span><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 1″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615489258286{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\n\u201cAt noon, no shadows\u201d\u00a0<\/em>\u2013 [undated]
\n<\/em>Typescript; 13 pages<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\n\u201cThe biggest dog in the world\u201d<\/em> \u2013 [undated]
\n<\/em>Typescript; 10 pages<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\n\u201cThe cultural explosion\u201d <\/em>\u2013 [undated]
\n<\/em>Typescript; 30 pages
\nCorrections and additions in ink in AW\u2019s<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\n\u201cDon\u2019t be surprised at anything you see\u201d<\/em> \u2013 [undated]
\n<\/em>Typescript; one page<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\n\u201cThe elegant refuge \u2013 Memoir of a life at the Algonquin Hotel\u201d <\/em>\u2013 copyright 1976
\nChapters I-III; pages i-104
\n<\/em>Dedication to Lavinia Russ
\nForeword; pages i-xv
\n<\/em>Invitation<\/p>\n
    \n
  1. While we\u2019re young<\/li>\n
  2. The curtain raisers: Front desk and bellmen<\/li>\n
  3. The lively artists<\/li>\n<\/ol>\n

    Typescript; 122 pages total<\/p>\n<\/td>\n<\/tr>\n

folder 6<\/strong><\/td>\n\n

\u201cThe elegant refuge \u2013 Memoir of a life at the Algonquin Hotel\u201d <\/em>\u2013 copyright 1976<\/p>\n

Chapter IV \u2013 XII; pages 105-233<\/em><\/p>\n

    \n
  1. The Strategists<\/li>\n
  2. \u201cWhen the spirit moves you\u2026\u201d<\/li>\n
  3. \u201cMrs. Russ\u2019s Chair\u201d<\/li>\n
  4. \u201cKind hearts and gentle people\u201d<\/li>\n
  5. Pause for cats<\/li>\n
  6. Stone-hearted men<\/li>\n
  7. Kaleidoscope<\/li>\n
  8. In loco parentis<\/em><\/li>\n
  9. \u00a0\u201cWhere do you go when it starts to rain?\u201d<\/li>\n<\/ol>\n

    Epilogue
    \nProminent men and women who have come to the Algonquin Hotel
    \nTypescript; 128 pages total<\/p>\n<\/td>\n<\/tr>\n

folder 7<\/strong><\/td>\nEssay on jazz and non-jazz musicians
\n<\/em>Photocopy of manuscript; 4 pages
\nTyped copy; one page
\nManuscript copy in same series Box 2, folder 2<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\n\u201cFor he looked for a city\u2026\u201d<\/em>
\n<\/em>Sub title, \u201cFamiliar objects be as if they were not familiar\u201d<\/em>
\n<\/em>Typescript; 3 pages<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\n\u201cLetters I never mailed \u2013 Clues to a life\u201d<\/em>
\n<\/em>Copy of published book; 243 pages
\n<\/em>Little, Brown and Company: Boston, MA; 1975, first edition.
\nJacket design by Marge Anderson, cover photograph by Louis Ouzer
\nDedicated to James Sibley Watson
\nCard inserted into front matter, \u201cWith the compliments of the author\u201d in typescript, \u201cLittle, Brown and Company 34 Beacon Street Boston, MA 02106\u201d in bottom right corner (10.5cm x 7.5cm)<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\n\u201cThe man who put shit on the map\u201d<\/em>
\n<\/em>Photocopy of manuscript; 14 pages<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\n\u201cThe man who thought about nothing but cunts\u201d<\/em>
\n<\/em>Photocopy of manuscript; 24 pages<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\n\u201cPoncho and the pigeons\u201d<\/em>
\n<\/em>Typescript; 19 pages<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nScenario for film \u201cGood morning!\u201d<\/em> \u2013 January 27, 1931
\nTypescript; 2 pages
\nNotes in ink
\nTwo photocopies; 2 pages each<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nProse and scenario for film, The wedding night or \u201cLet thy will be done\u201d
\n<\/em> Prose:
\n\u201cWhen I find myself in an unfriendly smoking compartment\u2026\u201d<\/em>
\n<\/em>Typescript; 1 page
\n\u201cBy Alexander Wilder\u201d signed in pencil at foot of page Scenario for film:
\nThe wedding night or \u201cLet thy will be done\u201d<\/em> \u2013 January 27, 1931
\n<\/em>Typescript; 3 pages
\nPhotocopy; 3 pages Envelope
\nFrom: AW
\nTo: J. S. Watson Jr.
\nJanuary 27, 1931 \u2013 postmarked N.Y.C., NY<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nThe search
\n<\/em>Manuscript of book in AW\u2019s hand contained in 2 spiral-bound notebooks First notebook:
\nPreface
\n<\/em>The Search, pages 1-113
\n<\/em>In ink; 116 pages totalSecond notebook:
\nThe Search, pages 114-171
\n<\/em>In ink; 57 pages total<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 2″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615308294381{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nProse, gift of Arlene Bouras 2\/23\/94<\/em>
\n<\/em>\u201cThere is a current book of superlatives\u201d<\/em>
\n<\/em>In ink; 3 pages
\nNotes in pencil on back\u201cYou\u2019ve never had it so good\u201d<\/em>
\n<\/em>In ink; 11 pages\u201cHere\u2019s an average side street\u201d <\/em>[scenario]
\nIn ink; 2 pages
\nWritten on Hotel Bel-Air stationary \u2013 Los Angeles, CA\u201cOn the moral side\u2026\u201d<\/em>
\n<\/em>In ink; 5 pages
\nWritten on Golden State Rock Island \u2013 Southern Pacific stationary\u201cOur capacity to produce limitlessly\u2026\u201d<\/em>
\n<\/em>In ink; 7 pages
\nWritten on Golden State Rock Island \u2013 Southern Pacific stationary\u00a0<\/em>\u201cWhen a quiet, reasonable second generation Italian\u2026\u201d<\/em>
\n<\/em>In ink; 4 pages<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nEssay on jazz and non-jazz musicians <\/em>– undated
\n<\/em>In ink; 4 pages
\nTyped copy in Box 1 folder 7<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nThe search<\/em>
\n<\/em>Photocopy of manuscript (manuscript in same series box 1, folder 15)
\nAlso contains 4 inserted pages starting from page 44 titled, \u201cThe twig is bent\u201d
\n<\/em>Preface<\/em>
\nPages <\/em>[numbered] 1-44
\n<\/em>\u201cThe twig is bent\u201d <\/em>[insert]
\n<\/em>Typescript; 4 pages
\nTitle page written in ink; in AW\u2019s hand
\nPages <\/em>[numbered] 45-171<\/em>
\n186<\/em> pages total<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\n\u201cThe semen\u2019s saving bank\u201d<\/em>
\n<\/em>Photocopy of manuscript; 15 pages<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\n\u201cThe tappings\u201d<\/em>
\n<\/em>Typescript; 13 pages<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\n\u201cThe symbolist painters of 1890\u201d<\/em>
\n<\/em>[no indication this pertains to AW]Notes on the accompanying journal article
\nIn J. S. Watson, Jr.\u2019s hand
\nIn ink; one page Photocopy of journal article:
\nWallis, Anne Armstrong, \u201cThe symbolist painters of 1890,\u201d Marsyas<\/em> 1, no 1
\n(1941): pages 117-152.
\nIncludes Plate XXIII-XX
\n44 pages<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nEssays<\/em>
\n<\/em>Provenance: Bruce M. Creditor
\n<\/em>\u201cHope, when it becomes a mass attitude\u2026\u201d
\n<\/em>In ink; 3 pages
\n\u201cI guess that about here starts the publisher\u2026\u201d
\n<\/em>In ink; 15 pages
\n\u201cThis constitutes a flash-front\u201d<\/em>
\n<\/em>In ink; 7 pages<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\n\u201cThe tuxedo\u201d<\/em>
\n\u201cThe tuxedo\u201d pages 1-27<\/em>
\n\u201cThe entertainer\u201d<\/em> pages 28-40
\n\u201cVI or VII\u201d <\/em>pages 41-43
\n[Numbering restarts] pages 1-18
\n\u201c(Eastman School)\u201d <\/em>pages 22-28
\n<\/em>Typescript; 60 pages
\nCorrections in pencil; in AW\u2019s hand
\nPer edits, pages have been reshuffled
\n<\/em>Provenance: Bruce M. Creditor<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nList of celebrities at the Algonquin <\/em>
\n<\/em>In ink; 11 pages \u00a0<\/em>
\n<\/em>Provenance: Gift of Herbert Kaplan<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nThe elegant refuge (draft part 1)<\/em>
\n<\/em>Typescript and ink; 128 pages
\nProvenance: Gift of Herbert Kaplan<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nThe elegant refuge (draft part 2)<\/em>
\n<\/em>Typescript and ink; 181 pages
\nProvenance: Gift of Herbert Kaplan<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\n[untitled]
\nTypescript; 7 pages
\nAbout The Sunlight Dialogues, visiting Milford Fargo\u2019s relatives<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nI\u2019ll be around: A play with music<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>
\nBased on the life, music and writings of Alec Wilder
\nFirst draft; labeled as \u201cLou\u2019s copy\u201d
\n<\/em>Script; 33 pages<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nThe song writer<\/em>
\n<\/em>Typescript; 16 pages<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nLitmus paper test<\/em>
\n<\/em>Typescript; 10 pages<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nBy the wind grieved<\/em>
\n<\/em>Typescript; 11 pages<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nThe rhododendrons<\/em>
\n<\/em>Typescript; 11 pages<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nPoncho and the pigeons<\/em>
\n<\/em>Typescript; 19 pages<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nNow<\/em>
\n<\/em>Typescript; 11 pages<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nThe amateur
\n<\/em>Typescript; 17 pages<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nTony<\/em>
\n<\/em>Typescript; 5 pages<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 3″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615489345519{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nDonald and Mr. Constable<\/em>
\n<\/em>Typescript; 10 pages<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nThe son
\n<\/em>Typescript; 21 pages<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nThe bobble birds
\n<\/em>Typescript; 18 pages<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nMrs. Albertini
\n<\/em>Typescript; 10 pages<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nAll of a piece
\n<\/em>Typescript; 6 pages<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nEvery other inch a God
\n<\/em>Typescript; 17 pages<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nMistaken identity
\n<\/em>Typescript; 18 pages<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nThe \u201csmalls\u201d
\n<\/em>Typescript; 13 pages<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nJack Spratt
\n<\/em>Typescript; 9 pages<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\n\u00a0The tappings
\n<\/em>\u00a0<\/em>Typescript; 13 pages<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nMister Bouquet
\n<\/em>Typescript; 14 pages<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nAnother portrait of a lady
\n<\/em>Typescript; 18 pages
\nIn ink; 2 pages<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nThe difference
\n<\/em>Typescript; 11 pages<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nJesus wept
\n<\/em>Typescript; 5 pages<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nThe listener
\n<\/em>Typescript; 7 pages
\nAccompanied by Hotel Algonquin tag reading, \u201cFred Binkley will call from Alec Wilder\u201d; in ink<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nThe runaway
\n<\/em>Typescript; 37 pages<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nThe be-ers
\n<\/em>Typescript; 9 pages<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nFurther reflections on art and the artist
\n<\/em>For AW
\nBy James T Maher
\nTypescript; 4 pages<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\n[Untitled]
\nIn ink; 20 pages
\nParts written on Algonquin stationary<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nWhere do you go when it starts to rain?
\n<\/em>In ink; 21 pages<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nThe elegant refuge
\n<\/em>Typescript; 241 pages<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\n\u00a0The elegant refuge
\n<\/em>Manuscript; 219 pages
\nAccompanied by manila envelope<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 4″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615489392303{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nThe elegant refuge
\n<\/em>Pages grouped as found, not necessarily in order
\nTypescript; 130 pages<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nThe elegant refuge
\n<\/em>Pages grouped as found, not necessarily in order
\nTypescript; 80 pages<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nThe elegant refuge
\n<\/em>Pages grouped as found, not necessarily in order
\n<\/em>Typescript; 110 pages<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nThe elegant refuge
\n<\/em>Pages grouped as found, not necessarily in order
\nTypescript; 89 pages<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nThe elegant refuge
\n<\/em>Pages grouped as found, not necessarily in order
\nTypescript; 126 pages<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]<\/p>\n

\u2190 ALEC WILDER ARCHIVE: Series 1-2<\/a><\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

ALEC WILDER ARCHIVE; Series 6 to 8 \u2192<\/a><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text css=”.vc_custom_1615477265177{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”] Series 3: Recordings [\/vc_column_text][vc_column_text css=”.vc_custom_1615918180886{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”] Sub-series 1: Reel-to-reel [\/vc_column_text][vc_custom_heading text=”Box 1″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1615477298620{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px […]<\/p>\n","protected":false},"author":42,"featured_media":0,"parent":7392,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template_Finding_Aids.php","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[],"coauthors":[12],"class_list":["post-7433","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/7433","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/42"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=7433"}],"version-history":[{"count":0,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/7433\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/7392"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=7433"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=7433"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=7433"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}