The Rita Benton Music Library now provides access to BabelScores, an online scores database of over 210,000 pages of contemporary music. The catalog features composers from around the world, related media (videos of performances, sound recordings), and methods for contacting composers. This resource was recommended to the Music Library by School of Music composer Sivan Cohen Elias, who is familiar with the platform because her music is available there. If you would like to provide feedback on this resource to the Music Library, please contact music librarian Katie Buehner.
2019 was a busy year for the Rita Benton Music Library at the University of Iowa.
Here are a few highlights!
Student from Dr. Suhadolnik’s Fall 2018 American Music seminar mounted the exhibit, “Exploring Our Sounds: Traditions of American Music Making at the University of Iowa.” The exhibit stayed up through August 2019 and examined curriculums, student musical life, and composers. Learn more >
The Library was at the School of Music’s Audition Day, connecting with potential students and chatting with current ones. Button making was on the menu again, this time featuring photos of UI students with their instruments or singing in opera or chorus – and of course, imprinted with library call numbers!
In March, the Library was at the School’s Donor Appreciation Concert talking about the School of Music Recordings Archives with alumni and donors. We had old concert and recital programs dating back to the 19th century, as well as demos of the digital archiving of recordings, both audio and video. Learn more >
In April, Alan and Ann January donated over 150 wax cylinders and a gramophone player to the Music Library. In May, we found out that 13 of the cylinders were one-0f-a-kind early Czech music recordings made in the United States by jeweler Eduard Jedlička. Learn more >
May was momentous, as the Music Library helped local musician and donor Carey Bostian begin the process of transferring the James Dixon Papers to the University’s archives. Three van loads later, and the Library’s Seminar Room was FULL with the over 2,000 scores and 30 boxes of papers belonging to Dixon and his mentor, Greek conductor Dimitri Mitropoulos. The rest of the summer was spent sorting the score collection in preparation for preservation and exhibition.
In June, Library Assistant Christine Burke and her ensemble performed one of her compositions in [ramp] fest, a concert sponsored by the UI Stanley Museum of Art in the Tower Parking Garage. Christine’s works have been performed this year in Los Angeles, Chicago, Columbus (OH), Pittsburgh, and of course, Iowa City! One of the performers in the ensemble was student worker and Bentz Scholarship winner, Alex Spenceri. Learn more >
In July, the Music Library welcomed new School of Music director Tammie Walker to Voxman! Learn more >
In August, the Music Library moved over 10,000 LPs to the Libraries Annex facility. An additional 2,000+ titles were withdrawn (duplicate with online or CD content). Around 3,000 titles remain in the Music Library; mostly jazz, UI recordings, saxophone literature (supporting the Iowa Saxophone Archive), and other unusual or semi-rare items. Annex LPs are still available to patrons via request in InfoHawk+/Aeon. The relocation of the LPs provided the Music Library with much needed processing and storage space.
In honor of his receiving two awards from area organizations this fall, the Music Library mounted an exhibit of materials about world-renowned bass-baritone and Iowa graduate, Simon Estes. Dr. Amy McBeth curated the display which reviewed his time as a student, his exceptional career, and his philanthropic work.
The Libraries installed a second overhead scanner, this time in the adjacent ITC. Now students can scan materials when the Library is closed, but the ITC is open. This purchase was suggested by Library Assistant Amy McBeth and supported by Library Administration.
The Music Library took 16 brown wax cylinders to the Media Digitization and Preservation Initiative at Indiana University to be digitized. Two of the cylinders turned out to have been made in Cedar Rapids, Iowa. Librarian Katie Buehner and Czech audio archivist Filip Šír will present about the cylinders at the 2020 International Association of Music Libraries, Archives, and Documentation Centres (IAML) meeting in Prague. More news about the Jedlička Czech cylinders will be forthcoming in 2020.
The inaugural Benton Student Worker Scholarships were awarded to senior public policy major Olivia Waller and junior music major Anastasia Scholze. These two scholarships were made possible by generous donations from Raymond and Daniel Benton.
A new exhibit case arrived at the Music Library that will be used to display items from the Canter Rare Book Room. Thanks to Daniel Benton and Library Administration for supporting this purchase.
The Music Library was on hand with a pop-up library to accompany a performance by pianist Sarah Cahill of her show “The Future is Female.” Scores by the performed composers were available for check out, and the button maker was busy (again) creating buttons featuring the composers.
Music Librarian Katie Buehner traveled to New York to deliver items from the James Dixon papers for use in the NY Philharmonic Archives exhibit, “Dimitri Mitropoulos’ Music Library,” in Lincoln Center’s Bruno Walter Gallery. The exhibit is open through February 1, 2020. Learn more >
Every semester, the UI Catering hosts “Lunch with the Chefs,” which is a “pop-up lunch” based around a theme. This fall’s theme, “The Beatles – Come Together!” was a perfect match for the Music Library’s collections. Working with UI Special Collections, the RBML created a pop-up exhibit of vinyl records, books, and other materials drawn from Donna Parsons‘ excellent Beatles collection. The whole exhibit was staged in a fake teenager’s room, complete with posters, magazine, bean bag chair, a turntable, and OF COURSE Wulfie Parsons! Learn more >
In response to student feedback, the Music Library utilized the Seminar Room as a Music Graduate Student Lounge during Finals Week. Students (and Wulfie) seemed to enjoy having a space all their own, where they could concentrate and have ready access to caffeine, which means we’ll do it again this coming Spring. Learn more>
On November 21, the New York Philharmonic Archives opened a new exhibit about Greek conductor Dimitri Mitropoulos (1896-1960) in the Bruno Walter Gallery at Lincoln Center. The exhibit focuses on Mitropoulos’ tenure as music director of the Philharmonic (1949-1958), but also explores major themes of his overall career. Exhibit items include correspondence, photographs, and many scores drawn from the Philharmonic’s Archives and the conductor’s personal music library, which resides in Iowa City. This significant score library and related documents will soon be added to the collections of the University of Iowa’s Rita Benton Music Library; a destination best explained via a generational narrative involving Mitropoulos, Iowa native James Dixon (1929-2007), and UI alumnus Carey Bostian.
Dimitri Mitropoulos: from Greece to New York
Mitropoulos began his musical career in Greece as a concert pianist, composer, and conductor of various conservatory orchestras in Athens. However, it was in the early thirties that Mitropoulos made a splash in Berlin and Paris with Prokofiev’s Third Piano Concerto, in which he served as both soloist and conductor, leading the orchestra from the piano. In 1936, he made his American debut with the Boston Symphony Orchestra and in 1938, was named music director of the Minneapolis Symphony (now the Minnesota Symphony). It was during this time that Mitropoulos encountered a young James Dixon, who attended the Symphony’s touring performances in Iowa and eventually approached its conductor, seeking guidance. Mitropoulos became a mentor and benefactor for Dixon throughout his formative musical training at the University of Iowa during the 1950s. By this time, Mitropoulos was no longer in the Twin Cities. Many guest conducting appearances with the New York Philharmonic throughout the 1940s led to a co-appointment as music director (along with Leopold Stokowski) in 1949-50, and sole directorship of the ensemble from 1950-1957.
Mitropoulos’ Library: from New York to Iowa
Mitropoulos’ time in New York included over 50 world and 30 American premieres, including works by Schoenberg, Milhaud, Sessions, and even University of Iowa composition professor Philip Bezanson. His relationship with the Philharmonic became increasingly strained, and in 1957-58, he shared the directorship with the conductor who would replace him – Leonard Bernstein. In 1960, Mitropoulos died in Milan while conducting a rehearsal of Mahler’s Third Symphony at La Scala. James Dixon, who at the time was working at the New England Conservatory, inherited his score library, papers, batons, and many religious icons. When Dixon returned to the University of Iowa in 1962 as a professor, the library came to Iowa City. Over the next thirty-five years the Dixon/Mitropoulos score library grew to include almost 2,000 items, ranging from miniature study scores to full sets of orchestral parts. Much like his mentor, Dixon was a champion of contemporary music throughout his career, both in his programming for the UI Symphony Orchestra and collaborations with the UI’s Center for New Music. The library contains many unusual or rare editions of works, many sent to the two conductors by publishers and composers hoping for a premiere performance. Of equal value are the conductor’s markings to be found in many of the scores, especially from premieres, where the conductors worked with composers to fine-tune the work before it was heard in public or sent to press. Mitropoulos was renowned for his phenomenal memory and ability to conduct without the score, both in rehearsal and performance. Markings in his scores reveal clues to his memorization techniques, including numbering maps that allowed him to recollect rehearsal numbers.
The Dixon/Mitropoulos Library: from private collection to public archive and exhibition
Following Dixon’s death in 2007, the library was inherited by Dr. Carey H. Bostian II, a cellist and conductor who was one of Dixon’s last students at the UI. Bostian worked to organize the collection and created an inventory and became yet another contributor to its content. Four years later, the New York Philharmonic launched the Leon Levy Digital Archives, which now includes over 3000 digitized scores, 36,000 orchestral parts, 14,000 programs, and over 50,000 images and photographs. Included in the Archives is Mitropoulos’ score of Mahler’s Sixth Symphony (which the conductor premiered in the United States with the Philharmonic in 1947), loaned to the Philharmonic by Dr. Bostian for digitization. This single score loan led to a collaboration between Bostian, the Philharmonic Archives, and the Rita Benton Music Library (e.g., the Mitropoulos exhibit in Lincoln Center).
In July 2019, Bostian began the process of donating James Dixon’s papers to the Rita Benton Music Library at the University of Iowa, which include the Mitropoulos music library. The Philharmonic’s Director of Archives and Exhibitions Gabryel Smith visited the collection in August, both to review items for exhibition, but also to discuss digitization of Mitropoulos’s marked scores for inclusion in the Leon Levy Digital Archives. This partnership will allow seamless access to the scores within a robust digital archive of orchestral music and performance data, allowing researchers to explore Mitropoulos’ career and musicianship more fully.
There will be more news about the James Dixon Papers in future months, but for those interested in exploring Mitropoulos’ library now, a marvelous sneak peek (thanks to archivists Sarah Palmero and Gabe Smith) is available at Lincoln Center for your consideration. Here in Iowa City, the Music Library will continue to unpack and prepare this large and fascinating collection for processing.
Visit the Exhibit
Dimitri Mitropoulos’ Music Library
Curated by Sarah Palmero (Assistant Archivist) and Gabryel Smith (Director, Archives and Exhibitions), New York Philharmonic Archives
Bruno Walter Gallery | David Geffen Hall
Lincoln Center, New York City
Open through February 1, 2019
Explore the New York Philharmonic’s Leon Levy Digital Archives
- View Mitropoulos’ copy of Mahler’s Symphony No. 6 from the James Dixon Papers
Read about Dimitri Mitropoulos and James Dixon
- Priest of music : the life of Dimitri Mitropoulos / William Trotter
- “Mitropoulos’ Will Designates James Dixon as Sole Heir,” Daily Iowan, November 11, 1960
One of the problems of being a film historian is that you sometimes stumble across movies that require immediate love and attention. Four Daughters is one such film for me.
Falling short of “classic” status, this sentimental family drama fared more than well when it was released in 1938. The film’s adamant normalcy—a happy, middle-class family ensconced in a suburb untouched by the Great Depression—appealed to audiences. Its impressive popularity at the box office compelled Warner Bros. to make three more films with the same starring cast: a spinoff, Daughters Courageous (1939), and two sequels titled (spoiler alert) Four Wives (1939) and Four Mothers (1941). Fifteen years later, Warner Bros. would revive the Four Daughters story again for Doris Day and Frank Sinatra, retitling it Young at Heart (1955). Four Daughters also launched the screen career of John Garfield, cast in the unlikely role of an orchestrator. (He was, at least, a cynical, embittered orchestrator—more Garfield’s style.)
Four Daughters has some interesting connections to Iowa and to special collections within the state. I’ve learned about these materials in the process of researching the film’s music, and I’m happy for the opportunity to share these now. They may interest you in the films and the Hollywood history that is preserved in Iowan collections.
Like Little Women, Four Daughters is about four, close-knit sisters: Emma, Thea, Kay, and Ann. Until they find husbands, the young women live with their father, who teaches music at the local conservatory. Days are filled with music, dad jokes, and friendly sparring for the affections of Felix, a young composer at the conservatory. All is sunny until a cranky orchestrator named Mickey arrives, making everything complicated and interesting. For casting, Warner Bros. landed a novelty: Thea, Kay, and Ann are played by actual sisters: Lola, Rosemary, and Priscilla Lane. The Lanes hailed from Indianola, Iowa, and Four Daughters was not their first encounter with show business.
The real name of the Lane family was Mullican, and they had not three daughters but five. Starting with the eldest, there was Leotabel (Leota), Martha, Dorothy (Lola), Rosemary, and Priscilla. Of the bunch, all but Martha performed on the stage professionally. The Mullican family took advantage of their proximity to Simpson College. They boarded students, and the sisters took music lessons at Simpson. Martha even eloped with a professor. (Remarkably, all of these events anticipate plot points in Four Daughters and Four Wives. The resemblances are purely coincidental.)
The older Leota and Lola took to musical theater in the 1920s, playing in revues and shows, where they occasionally sang together as a sister act. Lola eventually went to Hollywood in the late 1920s; Leota soon followed, but struggled to land parts. Meanwhile, Rosemary and Priscilla initiated their own sister act in New York with Fred Waring’s band, The Pennsylvanians. When Waring and the band were cast in the Warner Bros. film Varsity Show (1937), Rosemary and Priscilla received major parts. Contracts from Warner Bros. kept the sisters in California, much to the dismay of Waring, whose sojourn to Tinseltown cost him several key members of his band. Rosemary next joined Lola in Hollywood Hotel (1937), with the sisters receiving second and third billing behind the inconceivably cheerful star, Dick Powell.
Given the four sisters’ film experience, one might logically expect them to join forces in Four Daughters. Hollywood, however, is neither logical nor kind to families. Warner Bros. evidently tested Leota but selected Gale Page as Emma, the eldest sister, for the film. (To her credit, Page handles her tricky role admirably.) How this setback was felt among the Lanes is anyone’s guess, but a brief article from Boxoffice shows Leota didn’t let Hollywood break her or her family.
The article reads:
Leota Lane, who has been visiting Sisters Lola, Rosemary, and Priscilla while they have been making Four Wives for Warner Bros., will present a concert in Indianola, the Lane girls’ home town, Tuesday, December 5.
Leota, the eldest of the Lane girls, was once a stage name with Sister Lola. During the last year she has been studying voice at the Juilliard School of Music.
After Leota’s concert at the Methodist Church, old friends will greet her at a public reception in the Simpson College administration building. (Boxoffice, 2 December 1939)
Tucked in the corner of the regional news section, the article is quietly affecting. I hope her recital went well.
There’s a quirky epilogue concerning the sisters: Although Leota was excluded from Four Daughters and the three films that followed, she was cast with her siblings in the Lux Theatre radio adaptations of Four Daughters and Four Wives. On the radio waves, at least, she resumed her regular role as eldest daughter. Today, pictures, papers, and memorabilia from the Lane sisters’ careers are preserved in the Mark Felton Collection in the Simpson College Archives.
More Four Daughters material has since made its way to Iowa. The Libraries have two archival scripts from the production. There’s a copy of a revised script, dated 12 February 1938, held among the Robert Blees’ Papers at the University of Iowa’s Special Collections. Robert Blees’ career as a screenwriter took off in the 1940s and 1950s (Magnificent Obsession is among his credits), and it’s not clear that Blees had any connection with Four Daughters. But his employment in the studio’s story department meant he had ready access to scripts, and the version preserved among his papers is a rare transitional document that occasionally diverges from the final shooting script. Comparing Blees’ copy of this revised—but not yet final—script with the film is a little like watching deleted film scenes from more recent titles: the differences show the film’s story to be more flexible and uncertain of itself. The discrepancies allow alternative perspectives on the characters and story to slip in.
Another copy of the film’s script in Special Collections was annotated by a musician directly engaged with the production. Max Rabinowitsch (or “Rabinowitz” or “Rabinowitsh,” as it is sometimes spelled) had been hired to assist with the film’s many scenes of onscreen musicmaking. A professional pianist, Rabinowitsch was known among Los Angeles concertgoers as an exemplary recital accompanist who performed alongside luminaries like Nathan Milstein, Fyodor Chaliapin, and Joseph Achron. (Later, Jascha Heifetz would help set up Rabinowitsch as a private piano teacher to the young and promising André Previn, who went on to write film scores, perform in jazz combos, compose concert music, and enjoy international renown as a conductor.) Rabinowitsch also belonged to a small group of studio pianists who were called upon to make famous stars sound musical. While an actor pantomimed a virtuosic performance at the piano onscreen, the efforts of an actual pianist surged from the theater’s speakers. (Sometimes getting actors to look musical was still a challenge. Hal Wallis, the producer for Four Daughters, complained that the film’s bachelor composer looked more like he was digging a ditch than playing piano.)
Rabinowitsch did more than assist with onscreen music performances. He also wrote an original piece of music. Well, technically, part of a piece. There are two musical works in the film that are “composed” by characters in the story. One piece is by composer Felix, who hires Mickey, the jaded orchestrator, to arrange it. The piece is entered in a competition and, naturally, wins first prize. The other work is by Mickey. He plays a melody on the piano for only one person—Ann, the youngest daughter—and insists that it is not a full composition but “only a middle.” Rabinowitsch wrote that “middle,” and you can hear him performing his own work as Garfield’s arms wander vaguely over the keyboard.
In the film, the orchestrator’s inability to complete his composition is another mark of his inadequacy. For Rabinowitsch, however, this was an unexpected and welcome diversion. Rabinowitsch appears not to have published any compositions before or after this, and in Hollywood he was hired to play piano, not compose. But in this case, Max Steiner, the chief composer of Four Daughters’ background score, took the unusual step of having Rabinowitsch dream up something for the onscreen orchestrator. Rabinowitsch was clearly proud of his contribution. He dedicated his 21-measure piece to “Hula Boy Max Steiner” (a grinning reference to Steiner’s recent Hawaii vacation). And in his annotated copy of the script, for the scene in which Mickey privately shares “his” melody with Ann, Rabinowitsch scrawls “He starts to play my composition.”
You won’t find Rabinowitsch’s name in the screen credits for Four Daughters. Such omissions were common during this era of filmmaking. But another bizarre epilogue rescued Rabinowitsch’s authorship from anonymity. In the sequel Four Wives, the screenwriters decided that Mickey’s “middle” would be magnanimously finished by Felix—a musical role reversal that would culminate in a lengthy concert hall performance. The arrangement of this fictional symphony was largely managed by Max Steiner, but he was arranging Rabinowitsch’s theme, so the film’s screen credits include a rare attribution: “Mickey’s theme by Max Rabinowitsh.” This must be one of the few instances in which a single melody receives its own credit line. Conveniently, the symphony features a lengthy piano solo which was written and performed by Rabinowitsch himself. Rabinowitsch is also the pianist onscreen performing among the ranks of the orchestra—finally seen as well as heard.
The scripts from Four Daughters represent a sliver of an iceberg’s worth of film-related material preserved in the Special Collections. There are thousands of documents, including scripts, production materials, correspondences, music, fan ephemera, and (naturally) much more. An overview of these contents is available here. For those interested in watching any of the Four Daughters films or the 1955 Young at Heart remake, DVDs of the titles are held in the library’s collection.
Recommended Further Readings
For more on the Lane Sisters, see these profiles from the Des Moines Register:
To survey materials from the Lane Sisters Collection at Simpson College, visit: https://simpson.edu/dunn-library/archives-special-collections/joseph-w-walt-research-library-college-archives/lane
For more on Four Daughters, see Catherine Jurca, Hollywood 1938: Motion Pictures’ Greatest Year (Berkeley: University of California Press, 2012), 139–150; and Jennifer Forrest, “Of `True’ Sequels: The Four Daughters Movies, or the Series That Wasn’t,” in Second Takes: Critical Approaches to the Film Sequel, eds. Carolyn Jess-Cooke and Constantine Verevis (Albany: State University of New York Press, 2010), 31-44.
A special thanks to librarian Cynthia Dyer of Simpson College, the staff of the University of Iowa’s Special Collections, and music librarian Katie Buehner, without whom this work would not have been possible.
Nathan Platte is an associate professor of musicology in School of Music with an affiliated appointment in the Department of Cinematic Arts. His most recent book, Making Music in Selznick’s Hollywood (Oxford University Press, 2018), explores films like Gone With the Wind, Since You Went Away, and Spellbound. Nathan’s research on the Four Daughters films is featured in the forthcoming anthology, Voicing the Cinema (University of Illinois Press).
In 1923, department chair Philip Greeley Clapp established graduate studies in music at the University of Iowa, and in 1924/25, the first students concluded their course of study with the submission of musical compositions and documents as theses. Over the last 95 years, Iowa graduates have submitted musical works, performing and critical editions, historical and theoretical studies, arrangements and transcriptions, bibliographies, and most recently, audio recordings as thesis as the capstone project of their master’s or doctoral degree in music at the University of Iowa.
This exhibit invites you to explore the breadth and depth of Iowa music theses, both in substance and style. Objects on display will rotate periodically and will be organized around different themes, such as theses about music in Iowa and the UI School of Music, prize winning projects, compositions, recordings, and more.
Week One: Early Theses
Two compositions were submitted for thesis in the summer of 1925; Pandora by Marian Edman and Smoke and Steel by Anna Margaret Starbuck. The latter was daughter of piano and organ professor, Anna Diller Starbuck, who figures prominently in the correspondence of music department chair, P. G. Clapp.
Clapp wrote in a letter to his wife, “Margaret Starbuck is finding, to her surprise and consternation, that finishing her score is a big job. She is keeping at it – now! – and will, I think, finish her work, especially as I have a notion (which naturally I am not publishing) that I can get her a time extension of about three days at the end, if necessary; but her parents are clearly worried, and are starting a prophylactic rumor that I could excuse her from finishing if I were decent and chose.”
In the end, Margaret completed the project on time and graduated as a Master of Music. Her composition, Smoke and Steel, was inspired by the Carl Sandburg poem of the same name.
Early theses compositions were handwritten manuscripts written in ink, so Margaret’s struggles to complete her project are understandable. A close look at her score reveals the underlying pencil marks, and in several places, she had to scrape away the paper to remove mistakes.
The first written music thesis analyzed Debussy’s Arabesque No. 2 and Prélude à l’après-midi d’un faune, charting the cadences with observance to their function and effect. Camp’s project may seem mundane, but consider that Debussy died only six years before the thesis was written and his music still relatively new (though the works studied were more than twenty years old).
The thesis shows the limitations of typewriters in handling musical needs, for Camp found it necessary to write in sharps, flats, and intervals. This may be why Camp included no musical examples in the thesis – only measure numbers. Subsequent thesis writers pasted or taped handwritten examples into their documents.
Following graduation, Camp moved to Arizona, where a census record lists her as a teacher at the state university. She married Cecil Clampitt in 1930 and died at the age of 87 in Tuscon.
Week Two: Award Winning Theses
The D.C. Spriestersbach Dissertation Prize was established to recognize excellence in doctoral research. Each year, a winner of the D.C. Spriestersbach Dissertation Prize is eligible to become the University of Iowa’s nominee in the national competition for the Council of Graduate Schools/University Microfilms International Distinguished Dissertation Award. In 1984, David Lasocki became the first of five Hawkeyes to receive the Spriesterbach and the International Distinguished Dissertation Award.
Lasocki went on to publish numerous performing editions of flute and recorder repertoire. His book, The Recorder: a research and information guide, is in its third edition. He also co-published several performance guides with Iowa’s emeritus flute professor Betty Bang Mather.
Lasocki worked as a reference librarian at the William and Gayle Cook Music Library at Indiana University, Bloomington for many years. In retirement, he still researches and writes about historical performance and the recorder.
Männerchors, or male singing societies, were active in the United States from the mid-nineteenth century, though most folded following the world wars. While several studies had examined specific männerchor or focused on a defined region, Snyder’s thesis endeavored to “explore the Männerchor from both the local and regional view, and much attention…given to the Sängerfests of regional federations…These festivals significantly influenced the musical climate of the times, and let to the establishment of music festivals across the United States, many of which are in still in existence today.”
In her acknowledgements, Snyder credits UI musicologist Dr. Fred Crane for “interesting me in a topic that has been fascinating and immensely rewarding.” Crane’s personal collection of musical Iowana informed sections of Snyder’s study [see medallion left].
Snyder’s dissertation received the Rita Benton Dissertation Award. She continued writing about männerchor, including a chapter about sängerfests in Indianapolis for the book Music and culture in America, 1861-1918 (Garland, 1998).
Week Three: University of Iowa School of Music Histories
As the author of this thesis notes, “The Hawkeye Marching Band is the most visible ensemble in the School of Music, and it is one of the largest student groups at the University…” In fact, marching bands at the University pre-date the formation of the School of Music, having started in 1881 with the University Battalion Band (six cornets, two alto horns, two tenor horns, one baritone, two basses, tenor and bass drums, and cymbals), and was part of the Military Department.
Biggers’s study is a rich mix of oral and documented history. University yearbooks, other historical studies on musical activities at Iowa, departmental records, local newspapers (including The Daily Iowan), photographs, drill charts, and business papers all served to inform this document.
The appendices are also of note, because Biggers collated lists of drum majors, student leaders, work crews, librarians, twirlers, band announcers, recordings, trophy recipients, and staff.
He’s always on the prowl near the Service Desk, decked out in his Hawkeye black and gold kerchief, keeping the Music Library in tip-top shape.
1. Consult the expertise of our excellent student workers
The Music Library hires 10-15 student workers each year who spend their time processing new items, sewing scores into those blue binders, re-shelving books, scores, and recordings, and answering your questions about how the library works and what to do when something goes awry. They are well-trained by the full-time staff members, and know the stacks inside and out. They can also help when the printers run out of ink, the scanners are acting strangely, and if you need to find a stapler. Wülfie would also like everyone to know they give the best ear scritches.
2. Recycle! Trash and recycling bins are located at the front entrance.
Trying to figure out what to do with scrap paper, empty beverage containers, and other recyclables that need to be disposed of while in the Library? There’s a recycling bin right next to the security gates at the entrance to the Library. If you realize you need a regular trash receptacle, you can use the can next to the in-library printer or the one next to the recycling bin.
3. Be respectful of fellow patrons and take voice and video calls outside of the Library.
There are times when you may need to speak to someone on the phone or video chat with them during your time at the Library. Please realize that the Library is viewed as a quiet-ish space, designed to allow students to focus on their work. Loud and even whispered conversations can cause anxiety for others and disrupt their concentration.
We’ve had a few times in the last year where patrons also found the level of noise coming from the Library workroom to be disruptive. The Library full-time and student staff can sometimes be louder than they realize (including the librarian), so if we are being disruptive, please let us know! We will pipe down. That includes Wülfie, who has a bad habit of practicing his howling techniques at odd hours.
4. Bring snacks! Bring coffee! Eat full or hot meals in other spaces.
Wülfie can tell you, the Music Librarian loves coffee, and every musician knows how important it is to stay hydrated. Bring beverages into the library, but please bring them inside a container with a lid.
Snacks, like granola bars or fruit or cookies, are also welcome. If you plan to eat a hot meal, like a re-heated frozen dinner or pizza or foods that make a fair amount of noise or odor, please find another place in Voxman to eat. The downstairs lounge, which has a fridge, microwave, sink, and is without carpet, makes a far more amenable place for eating meals. Crumbs and spills can damage library items, or attract creatures to the stacks.
If you bring a dog biscuit for Wülfie, that’s totally OK, too. In fact, it is encouraged.
5. Follow the University Tobacco-Free Campus Policy. No smoking, including vaping, in the Library.
Wülfie doesn’t have much to add to this item, except to say that if you need to review the University’s Tobacco-Free Campus policy, it’s available here.
The English novelist Anthony Burgess visited Iowa City in 1975 to teach at the Iowa Writer’s Workshop. His course received endorsement in the “Letters to the Editor” section of the Daily Iowan. “I would like to thank the Iowa English Department for arranging such a unique class as Problems of the Modern Novel and for arranging to have Mr. Anthony Burgess teach this subject,” wrote Kevin Cookie. “I can honestly say that Anthony Burgess did present in fine form a considerable number of problems.”
In a move that distinguished him from other visiting writers, Burgess brought with him a new symphony. He had written it specially for James Dixon and the University of Iowa Symphony Orchestra.
I’d had a long-standing invitation to visit the University of Iowa, internationally known for, among other things, its Writers’ Workshop, but something always got in the way of acceptance. Then I received a letter from Jim Dixon—not the hero of Kingsley Amis’s Lucky Jim but the conductor of the University of Iowa Symphony Orchestra—asking me if I had anything in stock, musical of course not literary, that the orchestra might perform when, if, I came there. This seemed too good to be true. Neglect of my music by the orchestra of the Old World was what mainly turned me into a novelist, but most of this music had by now been blitzed, lost, torn up, and I had nothing in stock. So just before last Christmas I bought myself a half-hundredweight of scoring paper and starting writing a symphony.
Composition of the “Symphony in C” began in Italy, around Christmas of 1974. Burgess conceded that some passages were composed under the influence of “Christmas bibulosity,” though “the writing seems sober enough.” The rest was penned during a tour of the United States, with Burgess laboring mightily midst airport muzak. “Do the people responsible for this bland abomination,” mused Burgess, “realize that there are people around desperately trying to compose music of their own?”
When Mr. Dixon brought the work before the orchestra, Burgess responded with delight: “I attended the first rehearsal and was awed at the large competence of all those delectable kids in blue jeans…I had written over 30 books, but this was the truly great artistic moment.” It wasn’t all perfect, of course. Some of what Burgess had written needed fixing. Plus, “young people do not take kindly to pianissimo markings: they like to saw or blast away.”
Not all the blue-jeaned musicians were exactly kids. The bass section included Laird Addis, who had received his bachelors and Ph.D. degrees from UI and was serving as a philosophy professor. (In addition to his forty-year tenure as a UI faculty member, Laird spent decades playing in the Quad City Symphony and cofounded the Iowa City Community String Orchestra. His passing in 2018 is keenly felt.) The violin section was helped by the presence of Candace Wiebener, another UI alumna who was by then already serving as City High School’s Director of Orchestras. (She retired in 2012 and is active in the local music scene; she also plays in the Iowa City Community String Orchestra.) Googling the names of other musicians from the program produces a vivid illustration of what happens to young musicians who train intensively together and then disperse across the country: they teach, perform, and grow musical communities.
In A Clockwork Counterpoint, Paul Phillips begins his study of Burgess’s music and music-infused writings with the Iowa City premiere of the symphony. His reason is simple: the concert affirmed within Burgess his calling to write music. This was no mere pat on the back; it was a rebalancing of the soul. Phillips notes that “unlike Paul Bowles and Bruce Montgomery, who compartmentalized writing and composing as independent activities, Burgess constantly sought ways to unite both halves of his creative personality.” It was not always easy, as demand for Burgess’s writings far outstripped interest in his many–over 250–compositions. It is telling, for instance, that Burgess compared his own exasperation over A Clockwork Orange’s rampant notoriety to a composer’s plight: Rachmaninoff, who came to begrudge audiences’ obsession with his Prelude in C# Minor. Upon hearing the UI Symphony Orchestra play his own opus, Burgess realized that Iowa City was that rare space where his talents as writer and composer might be appreciated together, where the problems of the modern novel might coexist peaceably with a new symphony: “how blessed the opportunity, however brief, to communicate without preaching, without being groused at for delivering no or the wrong message—to communicate in pure sound, form, pattern.”
Burgess left the manuscript score of his symphony—inscribed affectionately to James Dixon–with the university, where it is kept in the Canter Rare Book Room of the Rita Benton Music Library. Whatever distractions the Christmas celebrations and airport muzak posed, they have left relatively few signs of distress in the score itself, which is written neatly in ink. At one point Burgess lost or emptied his black pen, forcing an abrupt to switch to blue ink in the middle of the first movement. There are also some irreverent remarks printed in Arabic. Evidently proud of these idiosyncratic improprieties, Burgess referenced them in multiple commentaries on the symphony.
As a whole, the symphony exudes an affable eclecticism of styles, somewhat akin to the spirit of Leonard Bernstein’s concert works. Also similar to Bernstein, the music’s charismatic appeal to listeners is balanced by substantive challenges for players. No one gets off easy. Large swaths of the work flicker with rapid activity, intense contrasts in orchestral color, and rhythmically intricate handoffs. As a result, players must execute challenging passagework under very exposed circumstances. Burgess may have thought he was writing a symphony, but the players are tasked with a concerto for orchestra.
Given the sheer musical interest—and fun—of the symphony, it is surprising the work is not better known. (The symphony remains unpublished.) Dixon’s own intention to release a professional recording with the UI Symphony is a plan that remains to be realized by a future director.
Even so, Dixon’s invitation to Burgess and the composer’s enthusiastic response call us to reassess our own capacity for versatile creativity—as well as our opportunities to elicit such creativity from others. “It follows,” wrote Burgess, “that all novelists should also be symphonists and that their works should be performed in Iowa City. Good for their souls as well as for their primary craft. And it might also give them a chance to write gratefully about people like Jim Dixon and orchestras like the one he trains and conducts.”
The Story behind the Story
I learned about Burgess’s Iowa Symphony from Theodore Ziolkowski’s Music Into Fiction: Composers Writing, Compositions Imitated, which music librarian Katie Buehner helpfully displayed on the new book shelf. I checked out the book because I liked the title and then placed it carefully alongside other well-titled books in my office. When I finally got around to opening it, I was surprised to find a reference to the symphony’s premiere at UI.
A few searches in the catalog and further correspondences with Katie, Amy McBeth, and Christine Burke led to the printed program for the concert, Burgess’s manuscript score, and the university’s archival recording of the concert itself. Before seeing the score or hearing the recording, I was already hooked by Burgess’s program note, which introduced the symphony to listeners in terms that were alternately engrossing and endearingly self-deprecating. At this point, the story seemed to be taking me by the hand. Being the obliging sort, I followed.
I studied Burgess’s manuscript full score at the staff work table tucked behind the patron counter at the music library. This setup was different from my visits to collections with devoted tables for researchers. In those spaces—such as the University’s Special Collections–researchers are set up with rare materials at a large table and left to commune with their selected sources. Score study of Burgess’s symphony, in contrast, was fit alongside the daily work of student staff. My encounter with Burgess’s music happened amidst the inner workings of the library itself, as students Alex, Anastasia, Ramin, and Shelby bound new music scores, loaded book carts, and helped patrons. I liked being close to these familiar rhythms, which reminded me of working as a student employee at the University of Michigan music library. That early experience of being surrounded by music and music scholarship had helped me find my way; UI’s music library offers similar opportunities today.
And it is not a stretch to imagine Burgess approving as well, knowing that his music for Dixon and the UI Symphony contributes to the curiosity-driven economy of research, by which music-making sustains and is sustained by the efforts of staff and librarians. Burgess would be pleasantly surprised to know that the recording of the premiere has benefited from the library’s care. “The work went on to tape,” he noticed, “to be blurred by the magnetic apparatus used in airport security checks, eventually to be snarled up or to wear out or to be accidentally wiped off.” While nothing material lasts forever, the university’s records of that special Iowa City performance are for now well kept at the Rita Benton Music Library, where ongoing efforts to enliven local history—including historic premieres by our student ensembles—provide current students with means to pursue music studies and designs of their own.
Burgess, Anthony. “A Clockwork Orange Resucked (1986).” In A Clockwork Orange. New York: W.W. Norton & Co., 1962, 1986.
Burgess, Anthony. “How I Wrote My Symphony.” New York Times. 28 December 1975, 73.
Burgess, Anthony. “Symphony in C.” Note published in the University Symphony Orchestra program. 22 October 1975.
Cookie, Kevin. “Burgess as Teacher.” Daily Iowan. 31 October 1975.
Phillips, Paul. A Clockwork Counterpoint: The Music and Literature of Anthony Burgess. Manchester: Manchester University Press, 2010.
Ziolkowski, Theodore. Music into Fiction: Composers Writing, Compositions Imitated. Rochester, NY: Camden House, 2017.
Nathan Platte’s research and teaching interests include American film music, opera, collaborative creativity, and musical adaptations across media. He has presented papers at national and international conferences, including the Society for American Music, Society for Cinema and Media Studies, the American Musicological Society, and the British Library. His articles and projects have received recognition from the University of Michigan (Louise E. Cuyler Prize in Musicology), Harry Ransom Humanities Research Center (Dissertation Fellowship), the American Musicological Society (Publication Subvention), and Society for American Music (Mark Tucker Award and Wiley Housewright Dissertation Award).
Platte’s publications explore film music of Hollywood’s studio era from a variety of angles, including the collaborative process of film scoring, the intersection of technology and music, the role of studio orchestras, and soundtrack albums. His articles have appeared in many journals, including The Journal of Musicology, 19th-Century Music, and The Journal of the Society for American Music. Platte’s work has also been published in anthologies, including Music in Epic Film: Listening to Spectacle (Routledge, 2017), where he contributed an essay on the Tara theme from Gone With the Wind, and Sound: Dialogue, Music, and Effects (Rutgers University Press, 2015), to which he contributed a chapter on production practices in postwar Hollywood. Platte’s books include The Routledge Film Music Sourcebook (Routledge, 2012; coedited with James Wierzbicki and Colin Roust) and Franz Waxman’s “Rebecca”: A Film Score Guide (Scarecrow Press, 2012; coauthored with David Neumeyer). His most recent book, Making Music in Selznick’s Hollywood (Oxford University Press, 2018), investigates the scores for films like Gone With the Wind, Since You Went Away, and Spellbound.
Platte received his Ph.D. from the University of Michigan, where he also completed bachelor’s degrees in history and trombone performance. Before joining the faculty at the University of Iowa in 2011, he taught at Michigan and Bowling Green State University.
William Oscar Perkins and Henry Southwick Perkins, The Nightingale: A Choice Collection of Songs, Chants and Hymns, Designed for the Use of Juvenile Classes, Public Schools, and Seminaries; Containing Also a Complete and Concise System of Elementary Instruction (Boston: Oliver Ditson, 1860)
Advertised in University catalogues as providing “peculiar advantages to students,” the University of Iowa’s first music courses utilized a repertoire grounded in larger, nineteenth-century trends in American music education and represent the subject’s institutional foundation at the University prior to the establishment of a permanent School of Music.1 The academic sessions, held annually at the local Normal Academy of Music, were created to “give complete courses of instruction” in music performance, “both vocal and instrumental.”2 Written in part by the institution’s founding principal Henry Southwick Perkins, The Nightingale demonstrates a direct connection to the beginnings of American musical education itself. Originating in the eighteenth century, singing schools flourished throughout the United States with the use of simple songs arranged in three or four parts, a method standardized by eminent music educator Lowell Mason of Boston in the 1840s.3 Perkins himself studied under Mason and operated singing schools nationwide and, as such, prefaced his manual with a course of instruction for music beginners.
Beyond its pedagogical contents, The Nightingale features nearly two hundred pages of part-songs composed by prominent American composers that often reflect nationalistic themes. From the patriotic “Hail Columbia” and “Our Country’s Flag” to hymns by Perkins himself, the academy founded its day-to-day music instruction on domestic educational methods and a national repertoire.4 Perkins’s own patriotic anthem, “My Native Hills” (shown here), is descriptive of both its American surroundings and democratic ideals when it asserts that “my native hills are thine.” In addressing the goals of the volume, Perkins wrote that the selections are “pleasing and practical in character . . . [and] may contribute largely to the pleasure and education of the rising public,” a testament to egalitarian impulses of the nation’s then-budding public music education.5
1 Catalogue of the State University of Iowa for the Year 1866-67 (Davenport, IA: Lush, Lane & Co., 1866), 47.
2 Henry Southwick Perkins, “The Iowa State Normal Academy of Music at Iowa City,” Annals of Iowa 1872, no. 1 (1872): 62.
3 Edward B. Birge, History of Public School Music in the United States (Washington D.C.: Music Educator’s National Conference, 1966), 26.
4 Foundational American music historian Oscar Sonneck wrote extensively regarding the origins of “Hail Columbia” and overtly draws ideological associations between the anthem and the “Star Spangled Banner.” Oscar Sonneck, “Critical Notes on the origin of ‘Hail Columbia,’” Sammelbände der Internationalen Musikgesellschaft 3, no. 1 (1901): 139.
5 William Oscar Perkins and Henry Southwick Perkins, The Nightingale: A Choice Collection of Songs, Chants and Hymns, Designed for the Use of Juvenile Classes, Public Schools, and Seminaries; Containing Also a Complete and Concise System of Elementary Instruction (Boston: Oliver Ditson, 1860), .
Cody Norling is a PhD student in historical musicology at the University of Iowa. Apart from his research on American operatic traditions, he maintains research interests Midwestern History and has contributed writing to the Annals of Iowa and a forthcoming volume on nineteenth-century identity formation in the Midwest. Cody is currently the instructor for a course titled “Midwestern Identities” in the University of Iowa’s Department of Rhetoric.
State University of Iowa Orchestra concert of Copland compositions, March 5, 1958
Represented by original concert program and picture of Himie Voxman and Aaron Copland from the composers 1958 visit to Iowa City
On March 5, 1958, Aaron Copland attended a concert by the State University of Iowa Symphony Orchestra as an honored guest. Copland’s visit, culminating in this performance, reflected as much upon Copland’s achievements as it did upon the achievements of American Music, and the musical achievements at the University of Iowa.
Copland’s visit to the University was well received by students, faculty, and local residents. Attendance was at full capacity for the Symphony Orchestra concert as well as a lecture Copland gave titled “The Emergence of American Music.” In this lecture, Copland detailed that the “Emergence School of American Music” was “in the running,” implying that American Music could stand up to its European predecessors.1 This emergence that Copland referenced in his lecture is reflected in his own compositions performed by the SUI Symphony.
At this concert, the orchestra performed three works from a wide range of Copland’s compositional style and time periods: The Suite from the Ballet Billy The Kid, Copland’s Third Symphony, and a concert version of his opera The Tender Land. In a review by Donald Justice, the orchestra was praised for their performance, noting that Billy The Kid and Third Symphony were “two excellent performances.”2 The performance of Copland’s rarely performed opera The Tender Land was especially suitable for the composer’s trip to the Midwest. The opera is set on a Midwest farm, making it particularly reflective of the lives and upbringings of many students and community members.3
1 “Emergence School of Music In the Running: Copland,” The Daily Iowan, March 4, 1958, http://dailyiowan.lib.uiowa.edu/DI/1958/di1958-03-04.pdf.
2 Justice, Donald, “Chasing Billy- Copland’s Music- Pleases Audiences,” The Daily Iowan, March 7, 1958, http://dailyiowan.lib.uiowa.edu/DI/1958/di1958-03-07.pdf.
3 Perlis, Vivian, “The Tender Land,” Oxford Music Online, Grove Music Online, https://doi.org/10.1093/gmo/9781561592630.001.0001/ omo-9781561592630-e-5000905177. (accessed September 10, 2018).
Oboist Jenna Sehmann is a performer and teacher currently located in Iowa City, IA. Ms. Sehmann serves as the oboe studio teacher at Cornell College (Mount Vernon, IA) and Mount Mercy University (Cedar Rapids, IA). She is also the Teaching Assistant for the oboe studio at the University of Iowa, where she is pursuing her Doctor of Musical Arts in performance and pedagogy under Dr. Courtney Miller.
She holds a Master of Music degree in oboe performance from the University of Cincinnati College-Conservatory of Music and a Bachelor of Music degree in both music performance and music industry from Eastern Kentucky University. Regionally, Jenna has performed with Orchestra Iowa, Dubuque Symphony, Dayton Philharmonic, Evansville Philharmonic, and the Bach Ensemble of St. Thomas. To learn more about Jenna, visit her website jennasehmann.com
JCL Features the Music of Maria Schneider (2000)
On April 26, 2000, Johnson County Landmark, the premiere big band of the University of Iowa, featured the music of band leader, John Rapson, and award-winning American jazz composer, Maria Schneider. Programmed were three pieces from Schneider’s 1994 debut studio album, “Evanescence” – “Wrigly”, “Evanescence”, and “Gush”.1 Not only does the programming of Maria Schneider’s music display the jazz program’s commitment to a meaningfully well-rounded education in jazz history for student musicians and audience members alike, but to highlight her compositions is to underscore the diversity of American music and its infinite aesthetic possibilities.
Listen to JCL performing “Wyrgly”
Since launching her career in the late 1980’s, Maria Schneider has been drawn not to the conventional sound of the traditional American big band, but to orchestral colors, classical composition techniques, soloist-improvised bridges, and an emotional subtlety atypical to the accustomed big band sound.2 She has studied with and been mentored by two prominent names in American jazz history, Gil Evans and Bob Brookmeyer. These studies, combined with a unique vision for musical storytelling, have fostered Schneider’s chart-topping masterpieces which defy categorization and alter the notion of what a modern American big band can sound like.3
Maria Schneider remains one of the most prominent pioneers for women in jazz. In a 2016 spotlight interview for JAZZed magazine, Schneider affirmed that she has never seen her gender as being relevant in terms of her music.4 Regardless, one cannot deny that she holds a position as a prominent female role model in a male-dominated genre that jazz performers and listeners of all ages and genders look to as an example of originality of voice and cutting-edge musicianship at its finest. In a professional musical outlet where women are broadly marginalized, Maria Schneider is a true luminary for women composers and for anyone looking to test the boundaries of tradition.
3 “No boundaries: A daring composer defies categories.” Economist (New York, New York), March 8, 2014.
Toni LeFebvre, originally from Bettendorf, IA, is an active trumpet player and music educator. She completed her undergraduate degree in Music Education at the University of Northern Iowa in 2014. She was most recently the Band Director at Okoboji High School from 2015 to 2017 before moving to Iowa City to pursue a Master’s degree in Music Education at the University of Iowa, which she will complete May of 2019. In addition to her graduate studies, Toni has directed the Iowa City New Horizon’s concert and jazz ensembles, and is the co-founder and leader of the Iowa Women’s Jazz Orchestra, a big band comprised of women from across the state of Iowa which seeks to inspire young female musicians to find their voice in the jazz idiom. Upon completion of her Master’s degree, she plans to return to the field of public education as a high school band director in Iowa.
Check out a profile of Toni in The Daily Iowan from March 11, 2019.