The Kronos Quartet has donated part of its collection of chamber music to the Music Library. Some scores are integrated into the general scores collection but can be identified in SearchWorks by doing a subject search for "kronos quartet collection." A large part of the collection has been inventoried and is stored off site; please allow 2-3 business days for these items to be paged and delivered to the Music Library. These items can be searched in the Kronos Quartet database.
This collection contains Sydney Cowell's donations of published scores and recordings of her husband's music. The scores are integrated into the collection and are listed in SearchWorks (search subject "henry cowell collection"). A small collection of print materials is housed in our storage facility. It may be paged through SearchWorks; allow 2-3 business days for delivery..
The Lully Archive is a repository of primary sources on microfilm originally gathered in support of publication of the complete works of Jean-Baptiste Lully (1632-1687). The acquisition of the materials was funded by two grants from the National Endowment for the Humanities. The grants also supported the cataloging of sources, although this was not fully completed. Links are to the full catalog record when available; otherwise, the M/F = Stanford microfilm call number.
The Schmidt Collection contains primarily photocopies of original and transcribed music for lute gathered from a variety of libraries and archival repositories. These materials are not represented in SearchWorks, and are available for in-house use only.
This collection is located in storage and may be viewed on-site only. Photocopying is not permitted. To obtain copies, please contact the institution owning the original work. Please allow 2-3 business days for items to be paged and delivered to the Music Library.
George Antheil was born on July 8, 1900 in Trenton, New Jersey. He studied briefly with Constantin von Sternberg and Ernest Bloch. In 1922, he traveled to Europe to pursue a career as a concert pianist, performing many of his own works such as Mechanisms, Airplane Sonata, and Sonata Sauvage. The riots that his music caused contributed to the composer's growing notoriety. In Berlin he met Stravinsky, who exerted the single most important influence on his compositional style.
Lucie King Harris, born in Sonoma in 1883, was an arts patron, a philanthropist, and an ardent horsewoman. She helped found the San Francisco Opera Association in 1922 and was a governor of the San Francisco Symphony Association, as well as a founder of the San Francisco Choral Society. After her death in 1974, her son, Lawrence W. Harris, Jr., and his wife, Jane, chose to honor her through a book fund for music materials. The Lucie King Harris Books for Music Fund was the first endowed fund in Music at Stanford University.
Florence Underwood studied with Darius Milhaud at Mills College in the 1940s. In February of 1953, her composition, The Hopi Indian Legend, was premiered by the San Diego Philharmonic Orchestra. Several of her compositions were performed by local orchestras, and she also composed original music for amateur theater groups in the San Francisco Bay and Portland, Oregon areas. She taught piano and composition privately and at Multnomah College in Portland.
Bob Arnold was a popular music historian and collector in Albany, California. His collection consists of his research and correspondence, and includes scrapbooks, program notes, interviews on cassette, and compilations on open reel tape drawn from his music collection. Perhaps his most successful project was about a 1930s jazz singer named Midge Williams.
The Happy Jazz Band was formed in 1962 by Jim Cullum with his son, Jim Cullum, Jr. in San Antonio, Texas. Devoted to jazz from between the World Wars, the Happy Jazz Band was perhaps the foremost exponent of Dixieland in the Southwest. Jim Cullum, Jr. continued the band after his father passed as the Jim Cullum Jazz Band. The Jim Cullum Collection consists of tape recordings of the Happy Jazz Band and the Jim Cullum Jazz Band and covers over thirty years of the band's performances.
The James Schwabacher Collection consists of sound recordings, correspondence, scores, scrapbooks, clippings, programs, teaching material and other papers from San Francisco philanthropist and lyric tenor James Schwabacher.
The Judith Rosen Collection consists of unpublished recordings of performances, lectures, and radio programs concerning classical music, focusing on twentieth century composition, as well as women musicians and composers.
Papers and recordings from American conductor and composer Gerhard Samuel (1924-2008), particularly from his years conducting the Oakland Symphony, Minneapolis Symphony, and University of Cincinnati Philharmonia Orchestra.
The Richard Maxfield Collection consists of electronic music written by Maxfield on open reel tape from 1959 to 1964. Some tape boxes appear annotated by the composer. Nine are labeled as distinct works, while two others are more likely to be work tapes or copies. Pastoral Symphony, Amazing Grace and Cough Music are some of his more canonical pieces, and date from the period considered his most prolific. Maxfield would edit tapes for each performance to ensure a unique event, and it is unknown what versions these recordings represent.
Denis Condon (1933-2012) trained at the Sydney Conservatory and became a music teacher and educator. He developed an interest in the reproducing player piano when his father purchased an Ampico piano when Denis was fifteen. Over the next sixty years he amassed a collection of over 7500 piano rolls and ten instruments. From his home he hosted social evenings every two months where rolls were played for the assembled guests.
The noted Australian composer and pianist, Larry Sitsky, is also the author of The Classical Reproducing Piano Roll: A Catalogue Index. This comprehensive rollography represents years of work documenting all known reproducing piano rolls of classical music ever issued. In compiling this listing, he acquired photocopies of rare piano roll catalogs consisting of about 250 volumes. In addition, he collected another 80 volumes of original catalogs.