The Legacy of Carleton Sprague Smith: Pan-American Holdings in the Music Division of the New York Public Library for the Performing Arts

The Legacy of Carleton Sprague Smith: Pan-American Holdings in the Music Division of theNew York Public Library for the Performing ArtsAuthor(s): John ShepardSource: Notes, Second Series, Vol. 62, No. 3 (Mar., 2006), pp. 621-662Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/4487621 .

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THE LEGACY OF CARLETON SPRAGUE SMITH: PAN-AMERICAN HOLDINGS IN THE MUSIC

DIVISION OF THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS

BY JOHN SHEPARD

Carleton Sprague Smith (1905-1994) was chief of the Music Division of the New York Public Library (NYPL) from 1931 to 1959. The first fifteen of those years are remembered as a period of economic turmoil and war, yet Smith-through his vision, broad education, and keen intellect

-helped turn the challenges of his time into great opportunities for the New York Public Library and the communities which it served. While chief of the Music Division, he helped expand the repertoire of music available to the public, and through public programs and special projects he enlarged the audiences for a variety of repertoires, such as early music from England and America. He not only promoted awareness of the music of the United States, but as a diplomat he also facilitated cultural exchanges with Latin American countries, and enhanced the Music Division's holdings of music from those nations. In 1932, Smith con- ceived of a music museum in New York City;1 through his dogged persis- tence, this idea was expanded and realized as the Library and Museum of the Performing Arts, which opened at Lincoln Center in 1965.2 Smith was directly responsible for the creation of the Americana Section and Dance Collection within the Music Division. The Americana Section (now known as the American Music Collection) has steadily grown into an indispensable resource for American music history, with holdings that

John Shepard is the Music & Performing Arts Librarian at Rutgers University, and was the curator of rare books and manuscripts in the Music Division of the New York Public Library for the Performing Arts. This article is an expanded version of a paper the author read on 7 August 2002 in a session of the Archives and Music Documentation Centres Branch at the annual meeting of the International Association of Music Libraries. The author is deeply indebted to George Boziwick, who suggested the present subject as worthy of investigation, and who wrote the earlier paper's section on the development of the U.S. collections in NYPL's Music Division.

1. See, for example, Smith's 14 September 1932 letter to H. E. Winlock at the Metropolitan Museum of Art, in the New York Public Library Archives, record group 7 (Research Libraries), Music Division Records 1896-2001 (hereinafter NYPL Archives), box 31, folder "Metropolitan Museum of Art, 1932-1938."

2. For a full account of the progress of the Lincoln Center library/museum project, see Sydney Beck, "Carleton Sprague Smith and the Shaping of a Great Music Library," in Libraries, History, Diplomacy, and the Performing Arts: Essays in Honor of Carleton Sprague Smith, Festschrift Series, 9, ed. by Israel J. Katz, with Malena Kuss and Richard J. Wolfe, 17-41 (Stuyvesant, NY: Pendragon, 1991). This festschrift also con- tains numerous tributes and a valuable bibliography of Smith's writings.

621



622 NOTES, March 2006

now include the twentieth-century score collection of the American Music Center-the official music information center of the United States -and archival collections devoted to jazz, popular music, and musical theater. Ultimately, the world-class Dance Collection-now the Jerome Robbins Dance Division-became independent of, and on an equal ad- ministrative footing with, the Music Division. A founding member of both the Music Library Association (MLA) and the American Musico-

logical Society (AMS), Smith became president of each organization, from 1937 to 1939 and from 1939 to 1940, respectively. Smith was a consultant in the formation of the International Music Council of UNESCO, and in the planning for the John F. Kennedy Center for the Performing Arts in Washington, DC, as well as serving on the boards of directors of several cultural institutions and performing organizations.

Carleton Sprague Smith's achievements in collection development- and, indeed, in library development-were made possible partly by his

upbringing in homes (the family had residences in Manhattan and in

Washington, Connecticut) where literature and the arts were cherished, and by his broad and deep education, which included music but ranged far beyond it. His father, Clarence Bishop Smith, was a New York admi-

ralty lawyer, and his mother, Catharine Cook Smith, was an author of two books,3 and a patron of the arts.4 (The following short summary of Carleton Sprague Smith's education is drawn from a tribute by Israel J. Katz, who drew from an unpublished essay by Smith himself.5) At the age of twelve, Carleton Sprague Smith began studying flute at the Institute for Musical Art (later to become the Juilliard School) with a student of Georges Barrere. In 1922, after graduating from secondary school (the Hackley School for Boys in Tarrytown, New York), he continued flute studies with Louis Fleury in Paris while studying French at the Ecole Yersin. He entered Harvard University the following year and broadened his study of music history and literature, while studying flute with Georges Laurent, the principal flutist of the Boston Symphony Orchestra. He also continued his study of French language and literature, but his studies moved increasingly in a new direction-Spanish and

Portuguese literature and history. He enrolled at the University of Vienna in 1928, and in 1930 completed his doctorate in history with a dissertation in German on the seventeenth-century Spanish Habsburgs. In January of 1931, after his return to New York, Dr. Smith accepted two

3. In Defense of Magic: The Meaning and Use of Symbol and Rite (New York: Dial, 1930) and A Graft from The Golden Bough (New York: Dial, 1937).

4. Information from "Catherine [sic] C. Smith, Art Patron, Author" [obituary], New York Times, 3 October 1961, 39.

5. IsraelJ. Katz, "Introduction," Libraries, History, Diplomacy, xi-xv.



The Legacy of Carleton Sprague Smith 623

concurrent appointments-as an instructor in the History Department of Columbia University, and as chief of the Music Division in the Refer- ence Department of the New York Public Library.6

As chief of the Music Division, one of Dr. Smith's first initiatives became known as the Black Line Print project, under which copyists working with india ink on ozalid master sheets produced scores of compositions-such as eighteenth-century trio sonatas-which had previously only been

printed as parts; in some cases, works which had been published as scores had parts produced to facilitate performance. Ozalid, or black-line, prints produced by a blueprint process from the master sheets were sold by the New York Public Library at a nominal price. "Under CSS's guidance, the

copying was soon expanded to transcribing from tablature, transposing, reconstructing missing parts, realizing figured bass parts, and eventually editing scores and parts for concert use."' Dr. Hans T. David, an eminent

displaced German scholar hired by Dr. Smith, and Sydney Beck, already on the staff of the Music Division, acted as editors and supervised twelve music copyists provided by the Federal Music Project of the Works

Progress Administration.8

The publications project ultimately encompassed five general categories under the series titles of: 1) English Instrumental Music of the 16th and 17th Centuries from Manuscripts in the NYPL [Drexel Collection]; 2) Psalmody in 17th-Century America from the Psalters used in Colonial America with the original tunes in harmonizations current at the time: The Ainsworth Psalter, The Bay Psalm Book and the Dathenius Psalter (edited by Carleton Sprague Smith); 3) Music of the Moravians in America from the Archives of the Moravian Church at Bethlehem, Pennsylvania (edited by Hans T. David); 4) Early Symphonies and concertos; and 5) Chamber Music and Choral Works.9

Clearly, Smith's interest in early American psalmody'0 arose from his New England upbringing and broad interest in the history of the American colonies. A number of miscellaneous American scores were also copied during this project, such as Wind Song for solo flute by the nineteenth-

century poet and essayist Sidney Lanier (see fig. 1), a composition which

6. Board of Trustees minutes, 9 January 1931, p. 9, NYPL Archives, box 35, folder "Board of Trustees minutes excerpts concerning Music Division 1896-1966," folder 2 of 2.

7. Beck, 18. 8. Ibid., 19. The fact that on 27 August 1935 Nikolai Sokoloff appointed Smith to the National

Advisory Committee of the Federal Music Project probably facilitated assigning the copyists to the Music Division (see folder "Works Progress Administration," box 30, NYPL Archives).

9. Ibid., 19. 10. An interest which came to fruition with his collaboration with Albert Christ-Janer and Charles W.

Hughes on the mammoth collection American Hymns Old and New (New York: Columbia University Press, 1980).




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Fig. 1. Wind Song [detail] for solo flute by Sidney Lanier, in a manuscript prepared by a

copyist employed through the Federal Music Project (Music Division, The New York Public

Library for the Performing Arts, Astor, Lenox, and Tilden Foundations, uncataloged "Black Line Print")

Dr. Smith performed on at least one public concert." Some of the editions produced in the Black Line Print project were issued as publications by C. E Peters in the 1950s. Garland Publishing later issued thir- teen volumes of the editions-selected and introduced by Kenneth

Cooper, with a foreword by Susan T. Sommer-under the title Three Centuries of Music in Score.12

The interest in earlier American music reflected in the Black Line Print project manifested itself more overtly when Smith established the Americana Section of the Music Division in 1936. Supported by money and staff from the Works Progress Administration, the Americana Section under its first head Joseph Muller (1877-1939) began its work to

11. Gilbert Chase, America's Music, from the Pilgrims to the Present, 2d ed. (New York: McGraw-Hill, 1966), 344.

12. New York: Garland, 1988-90.




fulfill what Smith clearly regarded as a historical mission. In 1938, the Americana collections grew exponentially with the acquisition of the collection of the American composer and conductor Henry Hadley (1871- 1937) from his widow Inez Barbour Hadley. This enormous collection consisted of orchestral, choral, operatic, and chamber music works by American composers-published and in manuscript-and proved to be the cornerstone on which a formal collection of American music could be built. Under Carleton Sprague Smith's leadership, the Music Division established the Henry Hadley Memorial Library as an entity that could continue to build on the foundation of Hadley's personal collection.

Smith had been discussing his dream for a collection devoted to the music of the United States with other colleagues and their respective institutions. One such institution was the American Music Center, which came into existence after a meeting on 11 November 1939. In the minutes of that meeting, Quincy Porter recorded the following statement:

It was decided that the place might be called American Music Center, to be for the distribution of published music and records, of a serious nature.

On the question of the new music room at the public library in New York, which is to contain the Hadley Collection as well as other American works, it is suggested that Carleton Smith be asked to call it something other than Center, so as to avoid confusion. We hope to have his cooperation in sending people who inquire for American Music to us if they wish to buy some.13

It is a mark of Carleton Sprague Smith's involvement in the musical life of his time that he would be consulted about the naming of the first national music information center. (In July 2001, events came to a nearly full circle when the American Music Center donated its library of ap- proximately 50,000 twentieth-century scores to the American Music Collection of the Music Division of The New York Public Library for the Performing Arts.)

Around 1940, Smith drafted a prospectus for the Americana Section which was to be the basis for a plea for greater institutional support. Here follows a transcription of the covering page:

For the past decade it has been one of the dreams of the Chief and staff of the Music Division that an Americana Section might be developed which could render a service unique among the libraries of the nation. With the limited facilities at its disposal, the Music Division has already inaugurated such a section, and for several years it was administered by the late Joseph

13. Otto Luening Collection, box 4, folder 153a, Music Division, The New York Public Library for the Performing Arts (hereinafter NYPL Music Division).




Muller, assisted by WPA workers. Among the projects undertaken were the cataloguing and dating of early music sheets, already in possession of the library, acquisition of such further treasures and collections as limited funds would allow, and the reading of New York newspapers from 1800 to 1830 re- sulting in the tabulation of every reference to music contained in their pages. At present, the contents of the Americana section consist of the following special collections:

... American sheet music up to 1830 [currently designated as Am-1]. American sheet music from 1830 to 1870 [Am-2]. Popular songs from 1890 to date-chron [ological] file.'4 Music from American musical comedies and light opera, arranged by

[production] title [Musical Comedy and Talkie collection]. Hadley Library of orchestral scores, opera and chamber music by American

composers. Autograph manuscripts. Special rarities, first editions, etc. Stephen Foster Collection. Special Collection of early American hymnody. Joseph Muller Collection [engraved or lithographed portraits of musicians,'5

music manuscripts, and musicians' letters].

Cataloguing, and classification of these collections is proceeding steadily and as rapidly as limited facilities permit. The ultimate objective will be to achieve a complete catalogue (with proper cross-references and indices) of all imprints in the Americana section, which will also include duplicate cards for all other American imprints previously classified under other headings in the general catalogue of the Music Division.16

The card files indexing newspaper entries from 1800 to 1830 may still be consulted in the Music Division, and there are additional card files which were created throughout the 1940s: indexes of (mostly nineteenth-

century) sheet music by topic, subject of title page illustration, and names of specific performers in sheet music title statements.

In the continuation of the prospectus, Smith wrote:

Whatever has been accomplished so far towards an Americana section has been achieved with limited and temporary facilities.... To bring the work to

14. A collection known as P.S., filed by year, and now available on microfilm in the Music Division under call number *ZB-2491; it was later supplemented by a larger collection known as Uncat. P.S., filed by year of copyright, now available on microfilm under the call number *ZB-768. Both microfilm sets conclude with the year 1973 and are supplemented for later years by currently-maintained sheet music collections. The designation "Uncat." indicates that the larger sheet-music collection is not indexed in the division's Vocal Music Index.

15. The Joseph Muller Collection of prints is in the process of being digitized, and many of the portraits are already available at the NYPL Digital Gallery, http://digitalgallery.nypl.org/nypldigital/ (accessed 23 November 2005).

16. "Prospectus, 1st version," p. 1, in folder "Americana Collection History, 1936-1957," NYPL Music Division office files.




desired efficiency, special, ear-marked funds are needed. Instead of the present temporary administration of part-time curator with WPA assistants, it is essential that the section be placed under a full-time curator with a staff of one assistant, one typist, and one page. Annual funds will be required for new acquisitions, and budget allowance should be made for the curator's travel- ing expense in visiting other libraries and collections.17

Whatever the immediate outcome of Smith's request for regular funding may have been, one of his wishes became a reality. In 1940, John Tasker Howard was appointed the first full-time curator of the Americana Section. Howard-author of Our American Music, Our Contemporary Com- posers, and other books-helped to bring the Americana Section much broader exposure. He greatly expanded the acquisitions of manuscripts and advised the Music Division on important sheet music acquisitions, particularly that which was acquired from Elliott Shapiro in 1956. Not to be deterred by the shortage of acquisition funds, Howard and Smith hatched the idea of asking publishers to donate scores to the Americana Section. On 6 January 1944, ASCAP president Deems Taylor sent a form letter to ASCAP member-publishers asking them to deposit new scores of

compositions by U.S. composers with the Americana Section.s8 The Music Division's files from the 1940s contain many form letters of solici- tation from John Tasker Howard. A 29 July 1948 letter to Elkan-Vogel, Inc., is a typical example:

We have recently made a check of the compositions by American composers in the Henry Hadley Memorial Library of the Americana Music Section of the New York Public Library, and we have found that the collection lacks the following works published by your firm: -Diamond, David. Canticle and perpetual motion for violin & piano -Palmer, Robert. Toccata ostinato for piano. 1946 -Thomson, Virgil. Five two-part inventions for piano solo. 1946 -White, Paul. Andante and rondo for cell[o] and piano. 1945 [pencil note:

not pub.] -Yardumian, Richard. Chromatic sonata

About a year and a half ago we made an appeal to you in the name of the Henry Hadley Memorial Library and you were extremely kind in sending us compositions we requested. We would appreciate very much your once more adding to our collection by contributing the above listed works.19

In the Music Division's 1948-49 annual report, Carleton Sprague Smith wrote that "in behalf of the Henry Hadley Memorial Library in the

17. Ibid., 2. 18. Folder "Taylor, Deems, ASCAP 1943-1944," box 27, NYPL Archives. 19. Folder "Begging letters," box 11, NYPL Archives.




Americana Music Section about 50 publishers contributed several hun- dred new works by American composers ...."20 After John Tasker Howard's departure from the New York Public Library in 1956, Carleton

Sprague Smith took up the task of writing "begging letters." A 28 August 1956 letter to Smith from Shapiro, Bernstein & Company states that "in the future you are on our mailing list to receive a copy of everything we

publish."21 On 30 November 1956, Margot J. Boelke of Boelke-Bomart, Inc., wrote to Smith: "Under separate cover we are sending our publications, except the ones you already have on file, for the Library."22 Her

parcel for the Americana Section was to include scores by Lou Harrison, Charles Ives, Erich Itor Kahn, Leon Kirchner, Ernst Krenek, Karol Rathaus, Wallingford Riegger, Ben Weber, and Arnold Schoenberg (to this day, the determining factor for a work to be included in NYPL's American Music Collection is the composer's U.S. citizenship).

In the Music Division's 1947-48 annual report, Smith wrote:

The major acquisition of the Americana Section for the year was the collection of autograph manuscripts by Louis Moreau Gottschalk. ... This material was purchased from Mr. Rene Guin y Toussaint, who had acquired it from a relative of the Cuban composer [Nicolas Ruiz] Espadero [1832-1890], a close friend of Gottschalk .. .23 [see figs. 2-3]

The Music Division organized a reception on 16 December 1948 to view the "Espadero manuscripts" (actually, the family name of Gottschalk's friend was Ruiz Espadero) and to publicize a 22 December 1948 Times Hall concert of American piano music; ticket sales were to help raise

money to pay for the purchase of the Gottschalk manuscripts. Among those accepting an invitation to the reception were John Cage, Gail Kubik, Samuel Barber, and Nadia Reisenberg.24 (Because of the strength of the 1948 acquisition of eighteen Gottschalk manuscripts, the Music Division was able to justify the purchase of the much larger Lily B. Glover collection of Gottschalk manuscripts in the early 1980s.) In the Music Division's 1948-49 annual report, Carleton Sprague Smith wrote that "the principal acquisition ... during the past year has been the manu-

scripts of George Frederick Bristow."25 Bristow (1825-1898), a violinist

20. Folder "Music Division Annual Report for July 1 1948 to June 30, 1949," unpaginated, box 3, NYPL Archives.

21. Folder "Begging letters," box 11, NYPL Archives. 22. Ibid. 23. Folder "Music Division Annual Report 1 January 1947 to 31 May 1948," p. 2, box 3, NYPL Archives. 24. Folder "Gottschalk manuscripts 1948-51," box 38, NYPL Archives. 25. Folder "Music Division Annual Report for July 1 1948 to June 30, 1949," unpaginated, box 3, NYPL

Archives.




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Figs. 2-3. Louis Moreau Gottschalk's autograph of "Zapateado cubano" from his collection of piano pieces entitled Recuerdo de la vuelta de abajo (Music Division, The New York Public

Library for the Performing Arts, Astor, Lenox, and Tilden Foundations)




who joined the New York Philharmonic in its second season in 1843, was also a prolific composer who wrote Rip Van Winkle (1853)-an early American opera on an American subject-the oratorio Daniel (1867), and the Niagara Symphony (1893), all of which were represented in the collection of 126 manuscripts.

Aside from major acquisitions such as the Hadley, Gottschalk, and Bristow collections and steady acquisition of newly published scores, the Americana Section grew by acquiring individual items in the various cat-

egories Carleton Sprague Smith outlined in his prospectus (ca. 1940, transcribed above), in a variety of genres: Early American sheet music such as the first edition of the Star Spangled Banner printed in Baltimore in 1814 (see fig. 4)

Popular and patriotic songs (see fig. 5) and marches (see fig. 6) Manuscripts such as a large volume of staff paper into which the

scores of marches, dances, and other band music were copied over a period of years (at its beginning, the volume is dated 27 Decem- ber 1862, by J. W. Perkins of the 17th New Hampshire Regiment Band in the Union Army; at the end it is dated 1879 by Hosea

Ripley of South Bethel, Maine; the title "G.A.R. Q.S." stands for "Grand Army of the Republic Quick Step"; see fig. 7)

Songsters such as the Granite Songster (Boston: A. B. Hutchinson, 1847) by the Hutchinson Family Singers

Tunebooks such as The Social Harmonist by Lewis Edson (New York, 1801; see fig. 8)

The Cherokee Singing Book, consisting of psalms and hymns in Cherokee

(using the alphabet developed by Sequoyah; see fig. 9) The New England Psalm Singer by William Billings, published in 1770

with a frontispiece engraved by Paul Revere (see fig. 10)

The Americana Section acquired other unique items such as a first edition piano-vocal score of George Gershwin's opera Porgy and Bess signed by Gershwin, DuBose Heyward, Serge Soudekine, Ira Gershwin, Alexan- der Smallens, and Rouben Mamoulian (see fig. 11).

Carleton Sprague Smith's interest in all aspects of American music, with particular emphasis on its early history, was reflected in the many projects whose research took place in the Americana reading room, such as Virginia Larkin Redway's Music Directory of Early New York City, with list-

ings of musicians, music publishers, and instrument makers from 1786

though 1835, published by the New York Public Library in 1941; the series Music of the Moravians in America, from the Archives of the Moravian Church at Bethlehem, Pennsylvania, of scores edited by Hans T. David and issued by the library as ozalid reproductions under the auspices of the




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and Tilden Foundations)

Federal Music Project in 1938 and 1939;26 and Richard Wolfe's Secular Music in America, 1801-1825: A Bibliography, published by the library in 1964. Carleton Sprague Smith called the appearance of Wolfe's bibliography "an important event in our cultural history"27 (see fig. 12).

After Smith's departure as the chief of the Music Division, the Americana Collection ("Section" became "Collection" around the time of the Music Division's move to Lincoln Center) grew under the leader-

ship of three more curators: John Edmunds, Karl Kroeger, and Richard

Jackson. The collection is headed today by its fifth curator, George Boziwick.

The year that Carleton Sprague Smith established a permanent cura-

torship in music of the United States-1940-was also a momentous year for the New York Public Library in relation to the music of the other

26. These were partially reissued in photoreproduction by C. F. Peters (New York) in 1954, 1955, and 1964; a number of these were again reissued in 1988 by Garland in volume 13 of Three Centuries of Music in Score (see n. 12).

27. Carleton Sprague Smith, "Introduction," in RichardJ. Wolfe, Secular Music in America, 1801-1825: A Bibliography, 3 vols. (NewYork: New York Public Library, 1964), 1:ix.




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(Music Division, The New York Public Library for the Performing Arts, Astor, Lenox, and Tilden Foundations)




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Fig. 6. E. Mack, "Monitor Grand March" (Philadelphia: Lee & Walker, 1862) (Music Division, The New York Public Library for the Performing Arts, Astor, Lenox,


Americas. In his inaugural address on 4 March 1933, President Franklin D. Roosevelt articulated his Good Neighbor Policy, from the outset distanc-

ing his administration from U.S. interventionist policies in the Americas in the 1910s and 1920s.2" Going beyond simple respect for national

sovereignty, in the later 1930s the Administration looked for ways to sig- nificantly enhance the United States' relations with the other countries in the Western Hemisphere; after war was declared in Europe in Septem- ber 1939, this effort became even more urgent. The U.S. Department of State took a broad view and stressed the importance of developing cultural relations, as well as diplomatic and trade relations. To address just one aspect of cultural relations, on 18-19 October 1939, the Division of Cultural Relations of the Department of State convened the Conference on Inter-American Relations in the Field of Music, held at the Library of

28. "Good Neighbor Policy," U.S. Department of State Web site, http://www.state.gov/r/pa/ho/ time/id/17341.htm (accessed 23 November 2005).




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Fig. 7. Manuscript collection of dances, marches and other music for band (1862-79) (Music Division, The New York Public Library for the Performing Arts, Astor, Lenox,


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Fig. 8. Lewis Edson, The Social Harmonist, 2d ed. (New York, 1801) (Music Division, The New York Public Library for the Performing Arts, Astor, Lenox, and Tilden Foundations)




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Fig. 9. The Cherokee Singing Book (Boston: printed for the American Board of Commissioners for Foreign Missions by Alonzo P. Kenrick, 1846) (Music Division, The

New York Public Library for the Performing Arts, Astor, Lenox, and Tilden Foundations)

Congress. Carleton Sprague Smith attended the conference at the invitation of the Division of Cultural Relations. The State Department issued a

digest of the conference proceedings in January 1940." This digest included the address of Assistant Secretary of State A. A. Berle, who con-

veyed Secretary of State Cordell Hull's regrets that he could not greet the conference participants. The second and final paragraphs of Berle's address state:

To our minds, the whole task of international relations is precisely to create situations in which groups like your own can find opportunities to make their talent effective. Fundamentally, government whether it be domestic or international, is designed to give the artist the chance to advance the cause of civilization. On our side we may perhaps be able to create conditions under which you can accomplish something for all of us and for the benefit of the civilization in which we serve.

29. Conference on Inter-American Relations in the Field of Music, Digest of Proceedings; Principal Addresses (Washington, DC: Division of Cultural Relations, Department of State, January 1940), hereinafter Digest of Proceedings.




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Fig. 10. William Billings, The New England Psalm Singer (Boston: printed by Edes and Gill, [1770]) (Music Division, The New York Public Library for the Performing Arts, Astor,

Lenox, and Tilden Foundations)

... All of us are appreciative of the sacrifices you have made to come here. It is not often that a group of people trained particularly in artistic fields come to the government to give their counsel. Too often the government has ordered them to come without knowing what it wanted and the result was confusion. Here the tablet is yours to write and the results are yours to create. We can only assist. It is the only position which we would care to assume. Yours is the long and dangerous part, and for that reason I am immensely grateful to you for accepting it. On behalf of the Department of State I present our heartfelt thanks.0?

The digest for the working sessions of the conference summarizes Carleton Sprague Smith's response to the question "How Can Dissemina- tion of Musical Compositions be Facilitated in the United States and Other American Republics?" The summary concludes as follows:

30. "Address of the Honorable A. A. Berle, Jr.," in Ibid., 1, 3 (the "Principal Addresses" follow the Digest of Proceedings in the published volume, and each is paginated separately).




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Fig. 11. George Gershwin, Porgy and Bess (New York: Gershwin Publishing Corporation, 1935) (Music Division, The New York Public Library for the Performing Arts, Astor,

Lenox, and Tilden Foundations)

He posed the question of what forms should be sent to Latin America, folk music or art music, a large ballet group or old-time square dance performers. He urged that the United States not attempt to dissemble the fact that no Wagners or Brahms [sic] had developed during the pioneering stage of American civilization. "I think that we shouldn't try," he said, "to disguise to the Latin Americans that we have certain peculiar habits, that we chew gum, for example. I think we will find cultural relations are much better that way than if we try to pretend we are sophisticated Europeans."

"The American past is important to these cultural relations," he continued. "We can't only take the contemporary folk music." It is necessary, he said, to encompass the early American psalms, spirituals, fiddle tunes, historic march- ing songs, minstrel music, and hymns. "In this bibliography," he continued, "I want to see the evolution, the past of American music presented to our Southern neighbors. I want them to give us part of their colonial heritage.",'

At the conclusion of the conference, an organizing committee (later known as the Committee on Inter-American Relations in the Field of Mu-

sic) was appointed to continue work on recommendations for specific

31. Digest of Proceedings, 16.




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Introduction by Carlcton Sprague Smith

VOLLME I

NEW YORK THE NEW YORK PUBLIC LIBRARY

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Fig. 12. Richard J. Wolfe, Secular Music in America, 1801-1825: A Bibliography (New York: The New York Public Library, 1964)




programs to develop musical cultural exchange between the U.S. and the countries to its south. The committee held further meetings in

January and May of 1940. At the January meeting, the committee elected William Berrien (of Northwestern University) chair, and Carleton

Sprague Smith vice-chair. A number of subcommittees were formed and Dr. Smith was appointed chair of the Subcommittee on Music Libraries.

We might forget that in 1940, there were almost no Latin American music specialists in the United States and very little information about U.S. music-other than a few pop standards-disseminated in Latin American countries. Uruguay's Francisco Curt Lange, a speaker at the 1939 conference, had only recently organized the Instituto Inter- americano de Musicologia, in Montevideo. Also, there were no avenues in place for the exchange of music information among the countries of the Western Hemisphere. In view of the general lack of information, the committee decided that extraordinary measures were required. At its

May 1940 meeting, the committee made a number of recommendations, central among them that Carleton Sprague Smith make a tour of fifteen cities in South America to initiate contact with important musicians, or-

ganizations, and administrators; to collect information about local musical cultures with the aid of a questionnaire prepared by the committee; and to lecture in Spanish and Portuguese about the music of the United States.

Among those things which Dr. Smith will investigate in each place are: the main collections, libraries, and archives of interest to the musicologist; needs for research and facilities for carrying this research out; the program of music education of the various countries, the texts used, the methods pur- sued; activities of the leading composers and music societies; size and avail- ability of music halls; classification of folk-music; the possibilities of further interchange of students and scholars in the field of music.32

The tour was made possible by a grant from the American Council of Learned Societies, airfare donated by Pan American Airways, and four months' leave from his position in the Music Division of the New York Public Library. By the time the committee issued its report in September 1940, Smith had already completed three-quarters of his tour, which had

begun in early June. The tour included visits to cities in Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Peru, Uruguay, and Venezuela. The committee's report benefited from correspondence with Smith since his departure, and noted that in addition to giving lectures,

32. Report of the Committee of the Conference on Inter-American Relations in the Field of Music (Washington, DC: U.S. Dept. of State, 1940), 8.




Dr. Smith also organized concerts of U.S. chamber music in which he

played the flute.33 After his return to New York on 5 October 1940, Smith issued a mimeographed report of 355 pages,34 which is a remarkable overview of music and musical life in nine countries. Copies of this Musical Tour Through South America are found today on the shelves of at least six U.S. libraries and available from the New York Public Library on microfilm.35

On an unnumbered introductory leaf of Musical Tour through South America, Smith acknowledged that "without the excellent notes which my wife [Elisabeth] made during the trip, this data could not have been

gathered. It is as much her report as mine." The report's introduction addresses aspects of musical culture, such as radio broadcasting or music criticism, common to the entire continent of South America. Smith offered practical advice to musicians from the U.S. who hoped to perform in South America, and many of his personal observations on musical culture are illuminating in retrospect. For example:

... Latin Americans like some of our swing, but not too much of it. "Hot bands" may appeal to the sophisticated enthusiasts but sweet music is pre- ferred by the majority. Xavier Cugat and Guy Lombardo are more popular generally than Louis Armstrong and Jack Teagarden.36

The report describes indigenous music as well, and Smith demonstrated a detailed knowledge of vernacular genres and traditional musical instruments.

In the main section of Musical Tour through South America, Smith re-

ported on musical life in each country he visited. There is a good deal of rather dry data gathered by the committee's questionnaire, and information in all the categories mandated by the committee's report was provided for each country. Nevertheless, Smith did not hesitate to flesh out his report with vivid local color. One example is from the Smiths' stay in Recife (Pernambuco), Brazil.

An outstanding experience during our stay was a Sao Joao party to which we went with Gilberto Freyre [Brazilian sociologist and anthropoligist]. The walks around his house, several miles outside the city, were strewn with cinna- mon leaves (canela) which perfumed the air as they were stepped on. A huge buffet consisted mainly in corn-paste cakes (wrapped in corn husks and sweetened with sugar), cheese biscuits, thin toast made of tapioca flour, sticks

33. Ibid., 9. 34. Carleton Sprague Smith, Musical Tour through South America, June-October, 1940, typescript (New

York, 1940). 35. NYPL call number *ZB-3617 (master negative: *ZZ-37390). 36. Smith, Musical Tour, v.




of sweet dough and rich desserts. The genipapo (Sao Joao liqueur), though calculated to knock out an ox, was delicious.... An excellent native band played sambas, maracatzus, cocos and marchinhas and the entire party was one of the most spontaneous affairs imaginable. Perhaps fifty people were present and enthusiastic and noisy dancing was the order of the evening. A large circle having formed, men and women danced separately or in pairs in the centre of the ring, flinging themselves about violently. The steps were fast, arms gyrated in all directions, knees bent. About midnight champagne was served and photographs taken. The dancing thereafter became even more re- laxed and the steps were now carried out either by couples or by larger groups. Seeing intellectuals such as writers, doctors, professors, musicians, etc. whirling about with such frenzy was really extraordinary. It made one re- alize what carnival time means in Latin America. Mario de Andrade [Brazilian musicologist] attributes a good part of the cheerful abandon of the Carnival to the music, especially the marchinha, which has the power to elec- trify people and cause dynamic manifestations of collective gaiety.37

Throughout his report, Smith urged the United States government to take greater advantage of opportunities for cultural exchange, and noted numerous instances when the Italian and German governments seized such opportunities. For example, when he was in Sio Paulo, Brazil, Smith interviewed the composer Francisco Mignone (1897-1986).

Mignone was invited to conduct in Germany in 1937 at the invitation of the German Government. He led the Berlin Philharmonic in two concerts of Brazilian music and was featured with the orchestras of Hamburg and Munich. In 1938 he was again invited to Germany and also to Italy, where among other activities, he led the orchestra of the Augusteo in Rome. The United States is way behind in extending such courtesies to South American musicians though our own curiosity ought to have led to such steps long ago.38

Musical Tour through South America also reports significant Italian and German influence in the domestic cultural life of South America. Again from the Sio Paulo report:

There are many good democrats in South America who are being isolated and neglected. Vague promises of assistance from the United States, however, are worse than neglect. For that reason every trip is a delicate problem. Despite my frequent insistence that I was merely trying to find out about their local music, my presence aroused hopes in the breasts of those who are friendly to democracy. German and Italian subsidies still function despite the war. This money is used in subtle ways to influence intellectuals and important men. Often the individual does not know that he is being "bribed." A German business firm, however, that gives books to the local library is

37. Ibid., 28-29. 38. Ibid., 85.



642 NOTEs, March 2006

bound to make an impression! ... In short, unless we move immediately, Brazil which has long been one of the best friends of the United States in South America may cease to be a democratic country intellectually, as well as politically.39

About Buenos Aires, Smith reported that "Italian propaganda is fairly strong culturally, particularly at the [Teatro] Col6n. The review Le Vie

d'Italia e dell'America Latina is an important fascist vehicle. Then there is a 'Palacio Italia-America,' the center of Roman cultural activity."40 In the section devoted to his visit to C6rdoba,41 Smith discussed the difficulty Argentina's orchestral musicians encountered in learning new works by U.S. composers, such as Copland's El Sal6n Mixico. Again, he stressed that the United States had a lot to learn about making the music of its

composers readily available for study and practice.

Incidentally, the German and Italian ministries of cultural propaganda and the publishing houses (especially Breitkopf & Hdrtel, Simrock and Ricordi) send review copies of their latest orchestral publications to practically all con- ductors in Latin America. Performance fees and charges for material are about a third of what is asked by U.S. publishers.42

Clearly, Carleton Sprague Smith was constantly aware of the strategic purpose of his mission.

Returning to the issue of cultural exchange, Smith urged that

Our music program in South America has to be a realistic one if it is to get anywhere. Numerous students should be brought to the United States to study and composers and scholars invited to conduct and lecture here. Something on the scale of the Rhodes Scholarships should be established and active propaganda made for our music down there and their music up here.43

The Committee on Inter-American Relations in the Field of Music continued its work, corresponding with Smith while he was in transit, and student exchange was one of its priorities. Committee member Burnet C. Tuthill (composer and professor from Southwestern College in

Memphis) wrote to Smith on 14 October 1940: "I am wondering if you have ever returned from your South America trip. Meanwhile, we have

39. Ibid., 45. 40. Ibid., 116. 41. An interesting detail is that while in C6rdoba, Smith made a side trip one Sunday morning to

Carlos Piz to visit the ailing Manuel de Falla. Though frail, Falla was "very much touched" when Smith played some Debussy [presumably Syrinx] on his flute (Ibid., 177).

42. Ibid., 176. 43. Ibid., 45-46.




placed your recommended candidate from Rio, [pianist] Egidio de Castro e Silva, at Oberlin."44

In the lengthy conclusion to Musical Tour through South America, Smith addressed the issue of combating fascist cultural influences, offered gen- erous advice to touring U.S. performers ("It is essential that you present North and South American pieces in your concerts.... Eschew works that internationally known artists have presented; comparisons may be

distinctly to your disadvantage."45), detailed the aspects of the protocol of cultural exchange, and speculated on the future of inter-American musical relations. In pondering this last issue, Smith proposes-if not a definition-a description of "musical Americanism" (in the hemispheric sense):

Just what is meant by Americanismo Musical? Briefly, the cultures of the new world, being quite distinct from those of Europe (although deriving from them), need logical, philosophical and aesthetic principles which should be simplified and better known.... Americanismo Musical defends the bluntness of common virtues and New World directness which often expresses our characters. It pleads for the man in shirt-sleeves against the Knight with the Purple Plume and points out that our heroes are unpretentious, honest souls ... .46

Smith's closing statement provokes in this reader nostalgia for a bygone era of bright prospects.

Generally speaking, I was greatly impressed by the spirit of youthful optimism and naturalness found in South America. There is a kindred indefinable enthusiastic feeling which those of us who have grown up in the New World share. It may seem so self-evident that we believe that it can be ignored, but we cannot ignore these precious and noble qualities. They distinctly need nourishing. We must develop Americanismo Musical, for we have a common destiny, the preservation of freedom, and we have the same essential spirit of youth, hope and faith. A knowledge of each other's music is but one link in the forging of greater spiritual ties. It is for this reason that we are working for the future of inter-American relations.47

Indeed, the level of artistic and cultural exchange between the U.S. and the countries of South America did increase, and almost immedi-

ately after the Smiths' return to New York on 5 October 1940, Carleton

Sprague Smith took on the role of one-man referral agency for South American visitors to the U.S. and for scholars and performers from the

44. Folder "Tuthill, Burnet C.," box 28, NYPL Archives. 45. Smith, Musical Tour, 286. 46. Ibid., 289. 47. Ibid., 290.




U.S. visiting South America. For example, on 5 January 1942 Smith wrote to Arthur W. Quimby at Western Reserve University that "Sra. Filomena Salas, the attractive Secretaria de la Difusi6n Artistica de la Facultad de Bellas Artes de la Universidad de Chile, who is also the able

Secretary of the Comit6 para las Relaciones Artisticas con los Estados Unidos de Norte Am6rica, plans to be in Cleveland about January 15- 16-17." He then asked Quimby to arrange for Sefiora Salas to meet Cleveland musicians and to invite her to give a lecture.48

Smith's networking skills were further enhanced by another visit to Brazil. From the February 1943 minutes of the meeting of the Board of Trustees of the New York Public Library, we read:

The Director reported that a leave of absence for one year, beginning February 1st, had been granted to Dr. Carleton Sprague Smith, Chief of the Music Division, for a series of lectures in Portuguese, to be given in Brazil under the auspices of the Sociedade de Oliveira. This project has the ap- proval of the Committee on Inter-American Artistic and Intellectual Rela- tions [of] the State Department, and the American Council of Learned Societies. The lectures will deal with the history and civilization of the United States.49

In regard to this lecture tour, Smith had written to his friend Davidson

Taylor (administrator at CBS and future consultant for the Lincoln Center library project): "... as for me, I am just as glad Brazil is looming up and on the general ideological side, not only music,"50 confirming Smith's obvious satisfaction at the prospect of lecturing on history and

politics. Apparently Smith did not return to the New York Public Library at the conclusion of the lecture tour.51 Sometime early in 1944, he was

appointed to the position of Cultural Relations Officer, based at the U.S. Consulate in Sdio Paulo, Brazil, where he worked closely with the diplomat Roy Nash,52 author of The Conquest of Brazil.53 Though occupied with consular duties, evidence indicates that Carleton Sprague Smith continued to perform chamber works with flute,54 and to encourage U.S. musicians to come to Brazil. On 21 September 1944 Smith wrote to Roy

48. Folder "Quimby, Arthur W.," box 22, NYPL Archives. 49. "Board of Trustees minutes excerpts concerning Music Division 1896-1966" (5 February 1943,

p. 23), folder 2 of 2, box 35, NYPL Archives. 50. 13July 1942 letter in folder "Taylor, Davidson," box 27, NYPL Archives. 51. In a 21 October 1946 letter to Otto Erich Deutsch, Smith wrote "I have just returned from nearly

four years in Latin America and am back again at the New York Public Library Music Division." Folder "Deutsch, Otto Erich," box 14, NYPL Archives.

52. See folder "Nash, Roy," box 20, NYPL Archives. 53. NewYork: Harcourt, Brace and Co., 1926; reprint, New York: AMS Press, 1969. 54. See letter of 7 December 1944 from Anita A. Goldstein (secretary to Smith at NYPL's Music

Division) to Claire Reis, League of Composers, requesting a list of chamber works with flute by U.S. composers to be sent to Smith in Brazil, in folder "American Music Lists," box 9, NYPL Archives.




Harris, requesting that he send three of his ensemble pieces involving flute, then asking

Have you written anything new with a flute? I have been cut off from music activities in the States for 18 months and, therefore, my ignorance is practically complete on these matters. When do you expect to wander down this way, or have you no desire? Six months of your presence might do a lot to further inter-American relations. Your pieces would be played and you could write some more while here; even teach a bit, if you care to.55

After his return to New York in 1946, Carleton Sprague Smith continued to welcome South American musicians to New York and to play the music of South American composers. One such composer was Alberto Ginastera (1916-1983), who was in the United States from the end of

1945; the following summer he studied composition with Aaron Copland at Tanglewood. Smith later wrote

Ginastera and his wife occasionally came to our house in New York on evenings when we were playing chamber music and [Paul] Hindemith joined with his viola in some of our sessions.... [T]he sensitive oboist Lois Wann was frequently on hand, and one evening when she was with us, Ginastera produced the manuscript parts of a flute and oboe duo. ... [H]e asked Lois Wann and myself to play the "premiere" on 23 February 1947, at a concert sponsored by the League of Composers [and organized by Copland56] in the New York Public Library. Partly owing to curiosity and the "Good Neighbor" feeling that prevailed as world peace became a reality, both the critics of the New York Times, Olin Downes, and the New York Herald Tribune, Virgil Thomson, were there and wrote reviews of the Duo and-mirabile dictu-for once they agreed with one another.... Alberto Ginastera's Duo, as Virgil Thomson pointed out, "made the players happy and it made the audience happy.""57

As a result of relations he established with musicians and organizations on his numerous trips to South America, Carleton Sprague Smith ac-

quired a number of manuscripts and reproductions of manuscripts which he donated to the Music Division of the New York Public Library. They include a collection of sacred music from Mariana, Brazil (forty-six folders of manuscripts dating from 1800 to 1904; see figs. 13-14), the au-

tograph of Jose Rol6n's Third String Quartet (see fig. 15), and auto-

graph scores of the eminent Brazilian composer Camargo Guarnieri

(see, for example, fig. 16). When Guarnieri visited New York in 1942, he

55. Folder "Harris, Roy," box 16, NYPL Archives. 56. See Smith's 7 February 1947 letter to Lois Wann in folder "Wann, Lois," box 29, NYPL Archives. 57. Carleton Sprague Smith, "Alberto Ginastera's Duo for Flute and Oboe," Latin American Music Review 6,

no. 1 (Spring-Summer 1985): 87-88.




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Figs. 13-14. Anonymous score and part from a collection of sacred music from Mariana, Brazil, ca. 1800-1904 (Music Division, The New York Public Library for the Performing

Arts, Astor, Lenox, and Tilden Foundations)




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Fig. 15. Detail from the first page ofJose Rol6n's autograph score of his Third String Quartet, op. 35 (ca. 1920-29) (Music Division, The New York Public Library for the

Performing Arts, Astor, Lenox, and Tilden Foundations)

composed a solo flute piece for Smith, who arranged for the New York Public Library to make a photostat of the autograph for the Music Division's collections (see fig. 17). The autograph full score of "A modo de un saltarello" by the Peruvian composer Rudolfo Holzmann-one of his Dos movimientos obstinados for orchestra-was another of Smith's

acquisitions (see fig. 18). Carleton Sprague Smith's successes in collection development were

an outgrowth of his attitude to community service. He led a life of total engagement with society, even when such engagement entailed

personal sacrifice or occasional demoralization. His 1 June 1950 letter to Davidson Taylor-vacationing in Tuscany-reveals both a remarkable slice of Smith's busy life and a touching glimpse of his humanity.

Life is not dull here but it is hard to compete with spring in Italy-the Tuscan Hills are too full of poetry. Nevertheless a lot happens in New York.

We have attended openings at the Museum of Modern Art, meetings of the MacDowell Association, Metropolitan Opera Association, Town Hall Com- mittee, Prades and Aspen Festival Boards, organized concerts at the Harvard and Century Clubs; dined with St. John Perse, lunched with Dali, seen the first confrontation of Rudolf Bing and Arthur Judson at a small dinner,




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Fig. 16. First page of the second movement in the autograph score of Camargo Guarnieri's Second Sonata for violin and piano (1933) (Music Division, The New York Public Library

for the Performing Arts, Astor, Lenox, and Tilden Foundations)




L A?

46

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Fig. 17. Detail from a negative photostat of the autograph manuscript of Camargo Guarnieri's Improviso no. 2 (1942) (Music Division, The New York Public Library for

the Performing Arts, Astor, Lenox, and Tilden Foundations)

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Fig. 18. Detail from the autograph full score of "A modo de un saltarello" by the Peruvian

composer Rudolfo Holzmann-one of his Dos movimientos obstinados for orchestra (1945) (Music Division, The New York Public Library for the Performing Arts, Astor, Lenox, and

Tilden Foundations)




played with Soulima Stravinsky, with E. Power Biggs on one of his Sunday morning [radio58] programs from the German Museum, in a Bach concert which Mrs. Coolidge staged at Pittsfield and to which she motored 90 miles from Cambridge; in a recording of the Coffee Cantata, cheered at the recital of a young Brazilian cellist, Aldo Parisot, about whom we are most enthusiastic, spoken in Carnegie Hall for a Gershwin Memorial Concert, presented a paper before the American Musicological Society on WOMEN IN MUSIC, lis- tened to compositions by the former head of the Teheran Conservatory, sat through ISCM concerts and casually made chamber music with Nicky Berezowsky, Mack Harrell, the New Music Quartet, Paul Ulanovsky, Arthur Loesser, etc.

... Does one accomplish anything by all this running around? Idyllic Florence is so much saner.

Here I am writing you facts rather than thoughts. The latter run on about the vanity of the world, the purposes of life and so forth. One good poem is certainly worth much office work and committee meetings. It represents thought and concern with beauty. That is what you are enjoying now and it must be thrilling.59

These last misgivings notwithstanding, Smith remained engaged, and it never occurred to him that he had the right to refuse a call to national service. In a 1951 letter to his uncle, the clergyman Everett Pepperrell Smith, he wrote

I have been asked to carry out a non-musical project for our State Depart- ment in Germany and shall probably be leaving here within a month.... This move is very sudden and cuts into lectures, concerts and books I'm working on here. At the same time, one is really obliged to go if one[']s government calls.60

In the tasks he undertook as part of his community service, Smith often

brought his knowledge of South America to the service of individuals and institutions outside of the New York Public Library. In the fall of

1956, he joined the board of directors of the New York Philharmonic and was a member of its Music Policy Committee.61 Prior to the orchestra's 1958 South American tour-conducted by Dimitri Mitropoulos and Leonard Bernstein-Smith lent his Musical Tour through South America to Philharmonic president David Keiser, who thanked Smith for "your most

interesting and valuable survey of South American music. . . . [I] had some notes made for use on the trip."62

58. See folder "Biggs, E. Power, 1942-1959," box 12, NYPL Archives. 59. Folder "Taylor, Davidson," box 27, NYPL Archives. 60. 30 September 1951 letter, folder "Smith, Everett, 1939-1951," box 26, NYPL Archives. 61. "Board of Directors," typescript list dated 11 October 1956, folder "New York Philharmonic 1954-

1958," box 41, NYPL Archives. 62. 27 April 1958 letter to Carleton Sprague Smith, folder "New York Philharmonic 1954-1958,"

box 41, NYPL Archives.




In 1959, Carleton Sprague Smith stepped down as chief of the Music Division of the New York Public Library to become the director of the Brazilian Institute at New York University (see fig. 19). Nevertheless, he was retained as a "musical consultant" by the New York Public Library for a few years63 and remained a presence in the Music Division's reading rooms for decades. Despite his departure from the Music Division, his cultural diplomacy left a legacy that went beyond the developments of the library's collections he personally fostered: when many Latin American musicians thought of libraries, they thought of the New York Public Library. So it was that Carlos Chavez decided to deposit 122 auto-

graph music manuscripts at the library shortly before his death in 1978 (see fig. 20). Not long afterwards, Chivez's correspondence and his collection of scores of other composers were given to the library. Among these were autographs of Cuban composer Juliin Orb6n (1925-1991; see

fig. 21) and Mexican composers Manuel Maria Ponce (1882-1948; see

fig. 22), and Silvestre Revueltas (1899-1940; see fig. 23). In 1986, the ad- ministrative director of the Orquestra Sinf6nica Brasileira sent the New York Public Library (via the U.S. Consulate in Rio de Janeiro) a collection of photocopies of 125 autographs and editions of the works of his

great grandfather, the composer Alberto Nepomuceno (1864-1920). Accompanied by one copyist's manuscript and four original editions, this

gift constituted Nepomuceno's complete works (see fig. 24). In 1993, the Brazilian composer Jorge Antunes (1942- ) visited the Music Division and brought a gift of ten of his works, including facsimiles of the auto-

graph score and typescript libretto of his opera Qorpo Santo (1983; see figs. 25-26). In 1995, the Cuban-American composer, pianist, and bandleader Marco Rizo (1920-1998; see fig. 27) attended a festival of the Music and Dance of Spain (see fig. 28), which took place in the Bruno Walter Auditorium of the New York Public Library for the Performing Arts. Soon afterwards, he himself gave a performance of Cuban piano music as part of the library's public programs (see fig. 29). After his death in 1998, his sisters gave his collection of papers, music manu-

scripts, and noncommercial recordings to the Performing Arts Library. (Though Rizo was widely known by many twentieth-century musicians- from Mario Castelnuovo-Tedesco to Duke Ellington-those who do not

recognize his name should know that Marco Rizo-lifelong friend of Desi Arnaz-wrote the title music for the I Love Lucy television show.)

This seventy-year overview of the development of the collections in the Music Division of the New York Public Library describes a history of public

63. "Board of Trustees minutes excerpts concerning Music Division 1896-1966," 6 March 1959, folder 2 of 2, box 35, NYPL Archives.




SNO ~v

Fig. 19. Cover of the issue of the Brazilian magazine Visdo (Sio Paulo, 17 April 1959) which includes a feature article on Carleton Sprague Smith (right) on the occasion of

his co-founding of the Brazilian Institute with Ernesto Da Cal (left), professor of

Portuguese at New York University




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Fig. 20. Page from Carlos Chivez's autograph full score of his Sinfonia India (1936) (Music Division, The New York Public Library for the Performing Arts, Astor, Lenox,





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Fig. 21. Juliin Orb6n's autograph of one of his "Canones retrogrados" for piano, from Carlos Chivez's collection (Music Division, The New York Public Library for the


service, but it also raises a question about which publics have been served. In 1940, the New York Public Library established the Americana Section as a curatorial unit within the Music Division devoted to the music of the United States. In 1972, the Schomburg Center for Research in Black Culture was designated one of the four research libraries of the New York Public Library. Yet despite the growing Hispanic population in New York City-27 percent of the city's total population, according to the U.S. Census64 for the year 2000-there is still no curatorial unit, either in the Music Division or in the library as a whole, for Latin American culture or for world-wide Spanish and Portuguese language and literature. However, the New York Public Library inaugurated a

Hispanic Cultural Center in the new Bronx Library Center that opened

64. See table "Total Population by Mutually Exclusive Race and Hispanic Origin" at the New York City Department of City Planning Web site, http://www.nyc.gov/html/dcp/pdf/census/plla.pdf (accessed 23 November 2005).




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Fig. 22. Manuel Maria Ponce's autograph of his piano piece "El Riego" (1908), from Carlos ChLvez's collection (Music Division, The New York Public Library for the





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Fig. 23. Detail from the first page of the autograph score of Silvestre Revueltas's First

String Quartet (1930), from Carlos Chaivez's collection (Music Division, The New York Public Library for the Performing Arts, Astor, Lenox, and Tilden Foundations)

in January 2006.65 One of the center's roles will be as an information

clearinghouse for Hispanic culture. In preparation for the opening of the Hispanic Cultural Center, the New York Public Library's Bronx

Borough Office held meetings with representatives of all the NYPL research libraries to develop guides to help refer students of Hispanic culture to resources among the library's vast collections. These developments give hope that Carleton Sprague Smith's legacy will continue, and that new research tools will improve access to the New York Public

Library's resources in Latin American music.

65. Personal communication from Michael Alvarez, chief librarian, Bronx Library Center, The New York Public Library.




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Fig. 24. First page of a photocopy of the autograph score of the Piano Sonata (1894) by the Brazilian composer Alberto Nepomuceno, written while he was studying in Berlin (Music Division, The New York Public Library for the Performing Arts, Astor, Lenox, and

Tilden Foundations)




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Fig. 25. Title page of the full score of the opera Qorpo Santo byJorge Antunes (Brasilia: Sistrum, [1983]) (Music Division, The New York Public Library for the Performing Arts,

Astor, Lenox, and Tilden Foundations)




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Fig. 26. Page from the full score (reproduction of autograph) of the opera Qorpo Santo by Jorge Antunes (Brasilia: Sistrum, [1983]) (Music Division, The New York Public Library

for the Performing Arts, Astor, Lenox, and Tilden Foundations)




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Fig. 27. Cuban-American composer, pianist, and bandleader Marco Rizo with the salsa star Celia Cruz, in a photograph from the Marco Rizo Papers (Series VI [Photographs], folder

10; Music Division, The New York Public Library for the Performing Arts, Astor, Lenox, and Tilden Foundations)




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Fig. 28. Brochure for the performance series Music and Dance of Spain at the Bruno Walter Auditorium of the New York Public Library for the Performing Arts




The New York Public Library for the Performing Arts

BRUNO WALTER PRO•GI RAM

AUDITORIUM 40 Lioln Center Plaza

New York, NY. 10023-7498 "1 Das IGNACiO CiRVANT "ES

aCoLntads MNANUE SSi AUi, EL

IB TERMIS ION

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programs And adith Weing of ftigftal wtch4S d iirading to thfe arthe aod *?pohL tht perfo'rmmasn for amberve lof th'?? audienc SX e4s Produce ax asW AP b

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Fig. 29. Program of a concert of Cuban piano music at the New York Public Library for the Performing Arts



Documents

The Legacy of Carleton Sprague Smith: Pan-American Holdings in the Music Division of the New York Public Library for the Performing Arts