Jack Beeson papers, 1854-2013
Jack Beeson papers, 1854-2013
Summary Information
Abstract
At a Glance
- Call No.:
- MS#0097
- Bib ID:
- 4079092 View CLIO record
- Creator(s):
- Beeson, Jack, 1921-2010
- Repository:
- Rare Book and Manuscript Library
- Physical Description:
- 80 linear feet (73 document boxes 25 flat boxes 17 record storage cartons 2 CD boxes)
- Language(s):
- English .
- Access:
- You will need to make an appointment in advance to use this collection material in the Rare Book and Manuscript Library reading room. You can schedule an appointment once you've submitted your request through your Special Collections Research Account.
-
The following boxes are located off-site: 2-115; 119. You will need to request this material from the Rare Book and Manuscript Library at least three business days in advance to use the collection in the Rare Book and Manuscript Library reading room.
This collection has no restrictions.
Some unique time-based media items have been reformatted and are available onsite via links in the container list. Commercial materials are not routinely digitized. If you would like to access the additional audiovisual materials in Series X, please email rbml@columbia.edu for more information.
Description
Summary
Jack Beeson (1921-2010) was a noted American composer and teacher of composition. Beeson's papers include a composition diary, biographical materials, scores, written works, scrapbooks, correspondence, files, datebooks, programs, and audio and audiovisual recordings, as well as written and musical works by other authors.
The strength of the collection is the documentation of Beeson's activities as a composer. Beeson recorded each of his compositions in a composition diary, which details all drafts, performances, and published versions of each work. Almost all of the works recorded in the diary are represented in the papers by drafts and holographs, and often by published scores as well. Documentation of Beeson's numerous operas includes drafts of libretti as well as background research materials (including some abandoned ideas for operas). In addition, Beeson's scrapbooks include clippings, correspondence, photographs, programs, promotional material, reviews, interviews, and other material related to his compositions. As well, his personal subject files and correspondence document his activities as a composer, including correspondence with publishers, performers, librettists, and other composers and collaborators. Copyright files are still held by Beeson's daughter, Miranda Beeson, at this time, and may be added to the collection at a future date.
The papers also contain documentation of Beeson's work as a professor and administrator at Columbia University's Department of Music, where he was ultimately appointed MacDowell Professor Emeritus of Music. These activities include helping to establish doctorate programs in composition, theory, and ethnomusicology, and working to enlarge the University's commitment to the arts, as well as teaching many cohorts of composition students. There is also documentation of Beeson's participation in many New York-based and national organizations for the arts (particularly for the promotion and support of new American music), including the Pulitzer Prize music committee, Composers Recordings, Inc., the American Music Center, Composers' Forum, American Composers Alliance, the American Society of Composers, Authors and Publishers (ASCAP), the American Academy of Arts and Letters, and the Alice M. Ditson Fund at Columbia.
The multimedia component of the papers includes commercially produced audio recordings of several of Beeson's works. Audiovisual and photographic documentation are sparse. There are a few original visual works including sketches of sets and characters for Beeson's operas. Many photographs are still held by Beeson's family; these may be added to the collection at a future date.
The papers include little documentation of Beeson's family life. The "JB" scrapbooks contain mostly published photos and interviews relating mainly to Beeson's musical activities; as well, most of his correspondence relates to professional and artistic activities and relationships. Beeson does document his family life in his autobiography/memoir, How Operas Are Created by Composers and Librettists: The Life of Jack Beeson, American Opera Composer.
Arrangement
This collection is arranged in twelve series and several subseries.
Using the Collection
Restrictions on Access
You will need to make an appointment in advance to use this collection material in the Rare Book and Manuscript Library reading room. You can schedule an appointment once you've submitted your request through your Special Collections Research Account.
The following boxes are located off-site: 2-115; 119. You will need to request this material from the Rare Book and Manuscript Library at least three business days in advance to use the collection in the Rare Book and Manuscript Library reading room.
This collection has no restrictions.
Some unique time-based media items have been reformatted and are available onsite via links in the container list. Commercial materials are not routinely digitized. If you would like to access the additional audiovisual materials in Series X, please email rbml@columbia.edu for more information.
Terms Governing Use and Reproduction
Single photocopies may be made for research purposes, except that permission is required to copy musical scores. The RBML maintains ownership of the physical material only. Copyright remains with the creator and his/her heirs. The responsibility to secure copyright permission rests with the patron.
Preferred Citation
Identification of specific item; Date (if known); Jack Beeson papers; Box and Folder; Rare Book and Manuscript Library, Columbia University Library.
Related Materials
Materials relating to Beeson and his works are found in multiple RBML collections, including the Alice M. Ditson Fund records, the Gloria Coates papers, and the Douglas Moore papers, among others. Recordings of his pieces are also found in many collections, some of which have been digitized. The digitized recordings are available in the Digital Libraries Collections website for onsite listening.
Accruals
Materials may have been added to the collection since this finding aid was prepared. Contact rbml@columbia.edu for more information.
Ownership and Custodial History
Gift of Jack Beeson, 1984, 2009-2010.
Immediate Source of Acquisition
Source of acquisition--Beeson, Jack. Method of acquisition--Gift; Date of acquisition--02/29/84. Accession number--M84-02-29.
About the Finding Aid / Processing Information
Columbia University Libraries, Rare Book and Manuscript Library
Processing Information
Surveyed Christina Hilton Fenn 04/03/89.
Papers processed by Emily Clark (GSAS) 2014-2015.
Finding aid written by Emily Clark 2015.
Revision Description
2009-06-26 File created.
2015-02-18 XML document instance created by Catherine C. Ricciardi
2019-05-20 EAD was imported spring 2019 as part of the ArchivesSpace Phase II migration.
2023-09-29 Box 119 added. kws/cjb
Biographical / Historical
Jack Beeson, 1921-2010, composed over 120 works and was known primarily for his work in opera, song, and other vocal genres.
Born on July 15, 1921 in Muncie, Indiana, Beeson began piano lessons with Luella Weimer in 1928 at the age of seven, discovered a love of opera through the Metropolitan Opera's Saturday afternoon radio broadcasts, and began to compose in 1933. Beeson did his undergraduate work at the University of Toronto's Conservatory of Music, 1933-1938, and his graduate work at the Eastman School of Music, 1939-1944. Subsequently, he moved to New York City to study privately with Bela Bartok from 1944 to 1945. Through a chance encounter with the composer Otto Luening (later Beeson's mentor), Beeson was invited to attend Columbia's Opera Workshop, and thus began a lifelong relationship with Columbia University (where he eventually became MacDowell Professor Emeritus of Music) and the new American music scene in New York.
Beeson is perhaps best known for his ten operas, including Hello Out There (1953), The Sweet Bye and Bye (1958), Lizzie Borden (1965), My Heart's in the Highlands (1969), Cyrano (1994), and Sorry, Wrong Number (1999). His best known and most widely performed work, Lizzie Borden, was produced for television in 1967, became a signature piece of the New York City Opera, and was telecast again by PBS in 1999. Despite his teaching and administrative duties and his involvement with many New York arts organizations, Beeson maintained separate time and space for a very active life as a composer, including a two-year sojourn in Rome, from 1948 to 1950, funded by the Prix de Rome and a Fulbright scholarship, where he completed his first opera. His musical collaborators included librettists Kenward Elmslie and Sheldon Harnick.
At Columbia, Beeson served as chair of the Department of Music from 1968 to 1972, during which time he helped to establish doctorate programs in composition, theory, and ethnomusicology. He also worked to enlarge the University's commitment to the arts, convincing the Mellon Fund to commit $250,000 to expand offerings in film, writing, and theater. Notable students of Beeson's include Charles Wuorinen, John Kander, Phillip Ramey, Alice Shields, Joan Tower, Harvey Sollberger, Michael Rosenzweig, Bright Sheng, Mark Birnbaum, Richard Einhorn.
Beeson also participated in numerous organizations related to the promotion of American composers and American music, including board member and elected official positions at Composers Recordings, Inc., the American Music Center, Composers' Forum, American Composers Alliance, the American Society of Composers, Authors and Publishers (ASCAP), the American Academy of Arts and Letters, and the Alice M. Ditson Fund at Columbia. He also served on the Pulitzer Prize music committee. Beeson retired formally in 1988, but continued his involvement with Columbia as a member of the Society of Senior Scholars, in addition to continued informal teaching activities and participation with many organizations up until his death on June 6, 2010.
Subject Headings
The subject headings listed below are found in this collection. Links below allow searches for other collections at Columbia University, through CLIO, the catalog for Columbia University Libraries, and through ArchiveGRID, a catalog that allows users to search the holdings of multiple research libraries and archives.
All links open new windows.
Series I: Composition diary, 1956-2009
Beeson logged all of his works (including dates and locations of composition and of performances of them) in this diary, referred to by Beeson as the "Latouche book." Beeson used his own system of numbering his works in this diary, referred to by him as "Latouche numbers" (a personal system of opus numbers not used by his publisher or in any of Beeson's published writing about his works). This system has been used to chronologically organize the records in this collection. Works prior to 1956 were recorded and backdated, and the total number of logged works at the time of Beeson's death was 136. The Latouche book can be used as a comprehensive guide to Beeson's composition activities.
The Latouche book is represented here by a facsimile reference copy. There is also a microfilm copy available for reference: MN#2010-7007. Please request access to the original book if required.
Box 1
(Also available on microfilm MN#2010-7007.)
Box 25
(Copy was made from microfilm MN#2010-7007 use this copy for reference purposes)
Series II: Biographical Materials, 1939-2010
This series contains materials that include biographical information on or related to Beeson: yearbooks, awards, published interviews, obituaries, and programs for his memorial concert at Columbia University.
Box 2
Box 2
Box 2
Box 73
("Live from Lincoln Center: Beverly Sills interview composer Jack Beeson and librettist Kenward Elmslie")
Box 73
(from ASCAP Living Video Archive)
Box 2
Box 2
Box 2
Box 2
Series III: Musical Works, 1933-2010
This series contains documents pertaining to original works composed by Beeson. The bulk of the series is comprised of sketches, drafts, holographs, and published scores, but the series also includes related research material, libretto drafts, notes, and correspondence. Almost all of Beeson's works logged in his composition diary are represented here, excepting a few early works; most include a draft with markings and a final-version holograph transparency in the composer's hand.
The series is arranged chronologically by work according to Beeson's "Latouche numbers" (his own system of opus numbers; see Series I). Within each work, materials are arranged in approximate chronological order. The series begins with fourteen spiral notebooks of early sketches and drafts composed while at Eastman, which include sketches and drafts of early Latouche-numbered works, as well as some early compositions not recorded in the Latouche book.
Box 3
Box 4
Box 4
Box 4
Box 4
("Movement in Sonata Form")
Box 4
("Reharmonization of bass of "Wach' Auf"-'Die Miestersinger'")
Box 4
Box 4
(See "Eastman notes and compositions" subject file for draft)
Box 4
(See "Eastman notes and compositions" subject file for draft)
Box 4
(contains markings)
Box 4
Box 4
(contains markings)
Box 4
Box 4
("Sonata for Piano")
Box 4
(contains markings)
Box 4
Box 4
Box 4
("Stars, I have seen them fall…" and "The Dust of Timas"; contains markings)
Box 4
("Madrigal")
Box 4
(bound withSecond Sonata for Pianoholograph facsimile)
Box 5
Box 4
Box 4
Box 4
Box 5
("We'll to the woods no more…"; contains markings)
Box 5
Box 5
Box 5
Box 32
Box 5
Box 32
Box 32
Box 32
Box 5
Box 5
Box 5
Box 6
Box 6
(contains markings)
Box 6
Box 6
Box 6
Box 6
Box 6
("Revision of The Crazy Jane Songs"; contains markings)
Box 6
("Three Love Songs")
Box 6
("Lullaby")
Box 6
Box 22
(SeeSongs and Arias for Mezzo-Soprano)
Box 6
Box 6
(contains markings)
Box 6
Box 6
(contains markings)
Box 6
("Fourth Piano Sonata"; contains markings)
Box 6
Box 6
(one copy contains markings)
Box 6
Box 6
Box 6
Box 6
(contains markings)
(contains markings)
Box 6
Box 22
(as "Three Blake Songs"; seeSongs and Arias for Tenor and Piano)
Box 6
Box 6
Box 6
(contains markings)
Box 6
Box 6
(contains markings)
Box 6
Box 6
(contains markings)
Box 6
(contains markings)
Box 6
(contains markings)
Box 6
("Fifth Piano Sonata")
Box 32
(contains undated markings)
Box 6
(incomplete; contains markings)
Box 7
(contains markings)
Box 7
(contains markings)
Box 7
(contains markings)
Box 7
("Three Lyrical Ballads"; contains markings)
Box 7
(contains markings)
Box 7
(contains markings)
Box 7
(contains markings)
Box 7
(facsimile contains markings)
Box 7
(contains markings)
Box 7
(contains markings)
Box 7
((inAmerican Artsong Anthology)
Box 7
(contains markings)
Box 7
Box 7
(contains markings)
Box 8
(contains markings)
Box 8
Box 8
Box 8
Box 8
(contain markings)
Box 8
(contains markings)
Box 8
Box 8
(contains markings)
Box 8
Box 8
Box 8
(contains markings)
Box 8
(contains revisions)
Box 8
Box 8
(contains markings)
Box 26
("2nd Rewrite of Piazza Piece"; contains markings)
Box 8
("Piazza Piece, as the first part of a larger work: The Equilibrists"; contain markings)
Box 26
Box 8
(contains markings)
Box 8
Box 8
Box 8
Box 8
("Senex"; facsimile contains markings)
Box 8
("Calvinistic Evensong")
Box 8
("Senex")
Box 8
Box 8
(songs #2-#6; contains markings)
Box 8
(contains markings)
Box 8
(contains markings)
Box 8
Box 8
(contains markings)
Box 8
Box 8
Box 9
(contains markings)
Box 9
(contains markings)
("The Hippopotamus" and "The Elephant")
Box 9
Box 9
Box 9
Box 9
Box 9
Box 9
(contains markings)
Box 9
(contains markings)
Box 9
(contains markings)
Box 9
Box 9
(contains markings)
Box 10
(bound; contains markings)
Box 10
Box 10
Box 10
(contains markings)
Box 10
Box 10
Box 10
Box 10
Box 22
(seeSongs and Arias for Mezzo-Soprano)
Box 22
(seeSongs and Arias for Tenor and Piano)
Box 11
(untitled; contains markings)
Box 11
Box 11
Box 11
(contains markings)
Box 11
Box 11
(contains markings)
Box 11
(contains markings)
Box 11
(contains markings)
Box 11
Box 11
(contains markings)
(contains markings)
Box 11
Box 11
(contains markings)
Box 11
(facsimile contains markings)
Box 11
Box 11
Box 19
(seeNine Songs and Arias for Soprano and Piano)
Box 11
(contains markings)
Box 11
Box 19
(seeNine Songs and Arias for Soprano and Piano)
Box 11
(contains markings)
Box 11
Box 11
("Matthew, Mark, Luke and John")
Box 19
("Night Spell"; seeRounds and Rhymes)
Box 11
("Hickup Snicup")
Box 11
Box 19
("Swan Song" and "Hiccup, Snicup"; see "Merry-Go-Round")
Box 19
("Swan Song" and "Hiccup, Snicup"; seeRounds and Rhymes)
Box 11
(contains markings)
Box 11
(contains markings)
Box 11
Box 11
(contains markings)
Box 11
Box 11
("ad lib. Choral close to Commemoration")
Box 11
(contains markings)
Box 11
Box 11
Box 12
Box 12
Box 12
Box 13
(contains markings)
Box 13
Box 13
(contains markings)
Box 13
Box 13
(contains markings)
Box 33
(contains markings)
Box 25
(This was Brenda Lewis' copy, given to her when she created the title role in the 1965 world premiere. The score contains markings. Any references should credit "Courtesy of Brenda Lewis Cooper and Video Artists International.")
Box 13
(contains markings)
Box 13
Box 13
Box 14
Box 14
("Margret's Garden Aria")
Box 14
("Abbie's Bird Song")
Box 19
(seeNine Songs and Arias for Soprano and Piano)
Box 22
(seeSongs and Arias for Mezzo-Soprano and Piano)
Box 14
(contains markings)
Box 14
Box 14
Box 14
Box 14
(contains markings)
Box 14
Box 14
Box 14
(contains markings)
Box 14
Box 14
Box 14
Box 14
(contains markings)
Box 14
("The Hoosier Balks" and "The Hawkesley Blues")
Box 14
Box 14
Box 14
Box 14
Box 14
(signed)
Box 15
(contains markings)
Box 15
(contains markings)
Box 15
Box 15
(contains markings)
Box 33
(one copy contains markings)
(fromMy Heart's in the Highlands)
Box 15
Box 15
(fromMy Heart's in the Highlands)
Box 15
(contains markings)
Box 15
(fromMy Heart's in the Highlands)
Box 15
(contains markings)
Box 15
Box 15
(contains markings)
Box 15
(facsimile contains markings)
Box 15
Box 15
Box 15
Box 15
Box 15
(contain markings)
Box 15
Box 15
(contains markings)
Box 15
Box 15
Box 16
(contain markings)
Box 16
Box 16
Box 16
(contains markings)
Box 16
Box 16
(inscribed)
Box 16
Box 16
Box 16
Box 16
Box 16
Box 19
(seeNine Songs and Arias for Soprano and Piano)
Box 16
(contains markings)
Box 16
Box 16
Box 19
(see Nine Songs and Arias for Soprano and Piano)
Box 16
(contains markings)
Box 16
(contains markings)
Box 16
Box 16
Box 16
Box 16
(contains markings)
Box 16
(facsimile contains markings)
Box 16
Box 16
Box 16
(contains markings)
Box 16
(contains markings)
Box 16
Box 17
Box 17
(contains markings)
Box 34
(Act III only; Acts II and III; assorted fragments)
Box 17
Box 17
(contains markings)
Box 17
Box 17
(contains markings)
Box 18
Box 18
Box 18
Box 18
Box 19
(seeNine Songs and Arias for Soprano and Piano)
Box 22
(seeSongs and Arias for Tenor and Piano)
Box 22
(seeSongs and Arias for Tenor and Piano)
Box 18
(contains markings)
Box 18
Box 18
(contains markings)
Box 18
(contains markings)
Box 18
(contains markings)
Box 18
Box 18
("Dr. Heidegger's Experiment"; contains markings)
Box 18
Box 18
Box 34
(contains markings)
Box 34
(contains markings)
Box 18
(contains markings)
Box 19
(seeNine Songs and Arias for Soprano and Piano)
Box 19
(contains markings)
Box 22
Box 19
(contains markings)
Box 19
(seeNine Songs and Arias for Soprano and Piano)
Box 19
Box 19
Box 19
(contains markings)
Box 19
(contains markings)
Box 19
(contains markings)
Box 19
Box 19
Box 19
(contains markings)
Box 19
Box 19
Box 19
Box 19
(contains markings)
Box 26
(contains markings)
Box 19
Box 29-30
Box 20
(Act II only; contain markings)
Box 20
(Act III only; contain markings)
Box 21
(contains markings)
Box 21
(contains markings)
Box 27
(contains markings)
Box 34
(one contains markings)
Box 21
Box 21
Box 21
(contains markings)
Box 21
(contains markings)
Box 28
(contains markings)
Box 21
Box 22
(seeSongs and Arias for Tenor and Piano)
Box 21
(contains markings)
Box 21
Box 22
(seeSongs and Arias for Tenor and Piano)
Box 21
(contains markings)
Box 21
Box 22
(seeSongs and Arias for Tenor and Piano)
Box 21
Box 21
(contains markings)
Box 21
(holograph contains markings)
Box 22
(seeSongs and Arias for Mezzo-Soprano and Piano)
Box 21
Box 21
(one is accompanied by correspondence)
Box 21
Box 21
(contains markings)
Box 21
(contains markings)
Box 21
("What lips my lips have kissed…")
Box 21
(contains markings)
Box 22
(seeSongs and Arias for Mezzo-Soprano and Piano)
Box 21
(contains markings)
Box 27
(contains markings)
Box 21
Box 21
(all contain markings)
Box 22
(contains markings)
Box 27
(contains markings)
Box 22
Box 22
(some contain markings)
Box 22
Box 35
Box 35
Box 31
Box 22
(contains markings)
Box 22
Box 22
Box 22
(seeSongs and Arias for Tenor and Piano)
Box 118
Intaglio print with music by Jack Beeson, text by Allen Ginsberg, and art by Paul Resika, signed by all three contributors. Created in celebration of the 50th anniversary of the American Academy of Arts and Letters, all three being members of the Academy.
Box 22
(contains markings)
Box 22
(contains markings)
Box 23
Box 23
Box 31
Box 23
(includes "Four Forbidden Songs")
Box 23
Box 27
Box 23
Box 23
Box 23
("Four Forbidden Songs" pages only; one copy contains 2001 revisions)
Box 23
Box 23
(contains markings)
Box 27
(contains markings)
Box 23
Box 23
Box 23
Box 23
(contains markings)
Box 23
Box 23
Box 27
(contains markings)
Box 23
Box 35
Box 24
Box 24
Box 24
Box 24
(contains markings)
Box 24
Box 24
Box 24
Box 27
(contains markings)
Box 24
(facsimile contains markings)
Box 24
Box 24
Box 27
(contains markings)
Box 27
("A Long Song, with Clams"; contains markings)
Box 24
("Sketch for something")
Box 27
(contains markings)
Box 27
(contains markings)
Box 24
(contains markings)
Box 24
Box 35
(contains markings)
Box 24
(contains markings)
Box 25
Box 27
(contains markings)
Box 27
Box 35
(contains markings)
Box 27
(contains markings)
Box 27
(contains markings)
Box 27
(contains markings)
Box 25
Box 25
Box 36
Box 27
(contains markings)
Box 27
(contains markings)
Box 27
(contains markings)
Box 27
(contains markings)
Box 27
(("Four Gallows Songs")
Box 36
Box 25
Box 27
(contains markings)
Box 25
Box 36
Box 25
(contains markings)
Box 25
Box 27
(contains markings)
Box 25
Box 36
Series IV: Written Works, circa 1962-2006
This series contains drafts and published copies of written works by Beeson, divided into two subseries. The bulk of the first subseries is a handwritten first draft of Beeson's autobiography, How Operas Are Created by Composers and Librettists: The Life of Jack Beeson, American Opera Composer, which Beeson termed "The Book." The second subseries includes typescript drafts of "The Autobiography of Lizzie Borden" (later published as an article in Opera Quarterly and as a chapter of The Book), and two issues of the journal Current Musicology with articles by Beeson.
Handwritten first draft of Beeson's autobiography; also a typescript copy of the first draft.
Box 37
Box 37
Two typescript copies of "The Autobiography of Lizzie Borden"; two issues ofCurrent Musicologywith articles by Beeson.
Box 37
Box 37
Box 37
Series V: Scrapbooks, 1929-2010
This series contains scrapbooks created by Beeson, where he collected materials pertaining to his life and his works. The scrapbooks include news clippings, correspondence, programs and pamphlets, research materials, notes, and photographs. The series is divided into three subseries: scrapbooks pertaining to Beeson's musical works, to Beeson's autobiography ("The Book"), and to Beeson's life and hobbies (the "JB" scrapbooks).
Beeson created one or more scrapbooks for several of his major works:Hello Out There,The Sweet Bye and Bye,Lizzie Borden,My Heart's in the Highlands,Captain Jinks of the Horse Marines,Dr. Heidegger's Fountain of Youth,Cyrano,Sorry, Wrong Number, andFour Forbidden Songs. There is also a scrapbook for an abandoned opera concept,Burr vs. Burr. The majority of the materials in these scrapbooks is comprised of research materials, correspondence, programs, publicity materials, and reviews pertaining to each of the works. Materials pertaining toLizzie Borden, Beeson's most frequently performed work, occupy seven scrapbooks.
Box 38
Box 38
Box 38
Box 38
Box 39
Box 39
Box 39
Box 39
Box 39
Box 40
Box 40
Box 40
Box 40
Box 40
Box 41
Box 41
Box 41
Box 41
Box 41
Box 41
Beeson kept one scrapbook with materials pertaining to the publication and distribution of his autobiography. This scrapbook includes reviews and publicity, as well as materials related to the book's publisher, Edwin Mellon Press.
Box 42
Beeson created the "JB" scrapbooks to collect materials related to his life, activities, general interests, and his friends and colleagues. These scrapbooks contain correspondence, programs, photos, news clippings, and published articles about Beeson and about other topics. The "JB" scrapbooks also document performances and reviews of works by Beeson that do not have an individual work scrapbook in Series V.1.
The first "JB" scrapbook, which contains materials from 1929-1965, was compiled by Beeson in 1995.
Box 42
Box 42
Box 42
Box 43
Box 43
Box 43
Box 43
Box 44
Box 44
Box 44
Series VI: Correspondence, circa 1943-2006
This series contains the bulk of Beeson's correspondence. It is divided into two subseries: the first, containing correspondence with individuals whom Beeson deemed "VIP," is arranged chronologically by item; the second, containing miscellaneous correspondence, is arranged chronologically by 6-month or 12-month (academic year) periods.
This series contains mainly Beeson's miscellaneous personal correspondence, as well as some correspondence relating to Columbia University Department of Music activities. Much of Beeson's correspondence relating to his capacity as professor, chairman, board member, and elected official at Columbia University and numerous arts organizations within and outside of the university is contained in the Subject Files (Series VII), labeled by department or organization. Frequent correspondence with some key individuals, such as Otto Luening, Douglas Moore, John Updike, and several of Beeson's collaborators and colleagues, are also found in the Subject Files (Series VII), under the surname of the correspondent. Some correspondence relating to the composition and performance of Beeson's works is contained in the Musical Works series (Series III), and in Beeson's scrapbooks (Series V).
Box 45
This subseries contains select correspondence with individuals who Beeson deemed historically significant, or "VIP," including Ernest Bloch, Aaron Copland, Virgil Thomson, Samuel Barber, Stephen Sondheim, Tom Stoppard, Otto Luening, and others. These letters are described at the item level and arranged chronologically.
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
(handwritten draft)
Box 45
Box 45
Box 45
(facsimile)
Box 45
Box 45
(typed draft)
Box 45
Box 45
(facsimile)
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
(contains correspondence with Columbia University Dean and Rare Books and Manuscripts Librarian)
Box 45
Box 45
Box 45
This subseries contains Beeson's miscellaneous correspondence, arranged chronologically, generally by 6-month or 12-month (academic year) period. Beeson's correspondence while in Rome is separated, as is some correspondence that pertains to the Columbia University Department of Music.
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 45
Box 46
Box 46
Box 46
Box 46
Box 46
Box 46
Box 46
Box 46
Box 46
Box 47
Box 47
Box 47
Box 47
Box 47
Box 48
Box 48
Box 48
Box 48
Box 48
Box 49
Box 49
Box 49
Box 49
Box 49
Box 50
Box 50
Box 50
Box 50
Box 51
Box 51
Box 51
Box 51
Box 51
Box 51
Box 51
Box 52
Box 52
Box 52
Box 52
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Box 54
Series VII: Subject Files, circa 1933-2010
This series contains papers related to Beeson's roles as a professor, administrator, and composer. It is divided into two subseries, loosely titled "professional" and "personal." The "professional" subseries relates to Beeson's activities at Columbia University, while the "personal" subseries includes documents pertaining to music- and arts-related activities outside of his professional appointments, and also includes research for composition projects, and correspondence with figures in the arts.
This subseries includes subject files related to Beeson's activities at the Columbia University Music Department, the Columbia University School of the Arts, and to other functions at Columbia University such as committees, clubs, prizes, and funds. It is organized alphabetically.
Box 55
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This subseries contains documents related to Beeson's activities as a composer, including activities related to such organizations as the American Academy of Arts and Letters, the American Academy in Rome, the American Society of Composers, Authors and Publishers (ASCAP), the Pulitzer, and the National Endowment for the Arts; composition projects including completed operas as well as aborted opera conceptions; recommendations; delivered lectures; publications; biographical materials on figures in the arts such as Aaron Copland, Benjamin Britten, and Douglas Moore; and correspondence with colleagues in the arts including Paul Henry Lang, Otto Luening, Douglas Moore, William Saroyan, John Updike, Charles Wuorinen, and others. It is organized alphabetically.
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Box 81
(Letters, manuscripts, and printed materials, including the autograph manuscript ofFour Motetsby Aaron Copland, as well as three letters from Copland, copies of letters from Beeson, all related toFour Motets.)
Box 58
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Box 65
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Box 65
(includes a "confidential" notebook of finalists and winners started by Douglas Moore and continued by Beeson, 1943-2004)
Box 93
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Box 94
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Box 66
(bulk of correspondence with Saroyan is inHello Out ThereandMy Heart Is in the Highlandsfiles and scrapbooks)
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Box 66
(a banner that reads "Jack Beeson, Soloist with Garrett's Boys Band")
Series VIII: Datebooks, 1964-2009
This series includes approximately one datebook per year from 1964 to 2009. 1974 is missing, and there are two books each for 1968 and 1970.
Box 67
Box 68
Box 69
Box 70
Box 71
Series IX: Programs, 1942-2014
This series includes loose programs from concerts attended by Beeson, and is divided into two subseries: concerts featuring works by Beeson, and concerts without works by Beeson. The series is small, as many programs are incorporated into the scrapbooks (Series V), correspondence (Series VI), and subject files (Series VII).
This subseries contains programs from concerts featuring works by Beeson. (There are many other programs listing works by Beeson found in the scrapbooks (Series V), correspondence (Series VI), and subject files (Series VII).)
Box 72
This subseries contains programs from concerts not including works by Beeson.
Box 72
Series X: Multimedia, 1965-2013, undated
This series includes audio, audiovisual, and assorted other materials relating to performances of Beeson's compositions.
This subseries contains commercially produced CDs and LPs of Beeson's works.
Box 74
Box 74
Box 73
Box 73
Box 73
(includes "Fantasy, Ditty and Fughettas for Two Baroque Flutes")
Box 73
Box 73
(includes "Death by Owl-Eyes," "The You Should Of Done It Blues," and "Eldorado")
Box 73
(also includes "Six Lyrics," "Two Millay Sonnets," "Five Songs," "CAT!," "Death by Owl-Eyes," "The You Should Of Done It Blues," "Eldorado," "From a Watchtower," "Three Blake Songs," "Margret's Garden Aria," and "The Widow's Waltz")
Box 73
Box 73
(includes "Three Settings from the Bay Psalm Book," "Tides of Miranda," "Three Rounds," "Knots," "In Praise of Singing," "Summer Rounds and Canons," and "Epitaphs"; 2 copies)
Box 73
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Box 73
This subseries contains a commercially released DVD of Lizzie Borden, and a VHS dub of a commercially released video of Cyrano performed in Hagen.
Box 75
Box 75
This subseries includes promotional posters (from the Theater Hagen productions ofLizzie BordenandCyrano), photographs from the 1965 rehearsal and premiere ofLizzie Borden, and framed original sketches of costumes, characters, sets, and scenes fromLizzie Borden(1965),The Sweet Bye and Bye(1973),Hello Out There(undated), andMy Heart's in the Highlands(undated). The photographer and artists are mostly unidentified. The subseries also includes three CDs with digital photographs from Beeson's later life and his memorial concert.
Box 80
Box 80
Box 74
Box 73
Box 73
Box 73
Box 117
(Abbie, Lizzie, and Margaret)
Box 117
Box 117
1 of 2
Box 118
2 of 2
Box 117
(Mr. Kosak's Store)
Box 118
Peter Wexler (1936– )'s set design for "Lizzie Borden." New York, chalk and pencil on paper, 1965. Peter Wexler designed the sets and lighting for the New York City Opera world premiere of "Lizzie Borden." This drawing with its austere staircase, depicts the Fall River, Massachusetts, Borden house interior, used to great dramatic effect in the premier and its NYCO revival of the same production in 1976. Over the course of his long career, Peter Wexler has also designed productions for, among many others, the Metropolitan Opera, Broadway and off-Broadway, regional theater, film, TV, and the New York Philharmonic, including their famed Promenades and Rug Concerts given at Philharmonic Hall.
Series XI: Works by Other Authors, 1854-2010, undated
This series contains works by other authors in Beeson's personal collection that are inscribed or annotated by Beeson or others. It is divided in two subseries. The first subseries contains books, articles, and dissertations (i.e. written works), and the second contains scores and libretti (i.e. musical works).
This subseries contains Beeson's personal annotated, signed, or otherwise inscribed copies of books, articles, and dissertations by other authors.
Box 75
Box 75
(Facsimile; inscribed "For Jack, himself an opera-tor, Piero"; correspondence inserted)
Box 75
(Articles marked with Post-Its)
Item 119 Item 17
Contains interview with Beeson about Béla Bartók
Box 75
(Inscribed "To Jack Beeson with best wishes. Bo Lawengren. See especially pp 17-24 for new theory of the origin of music.")
Box 75
(Annotated)
Box 75
(Letter from author inserted)
Box 75
(Bookmark inserted)
Box 75
(Stamped "Mercantile Library New York")
Box 75
(Inscribed to Jack Beeson by Miranda Beeson, 1981)
Box 75
(Annotated)
Box 75
(Inscribed by Jack Beeson, 1980)
Box 75
(Inscribed by Jack Beeson, 1980)
Box 75
(Inscribed by Jack Beeson, 1980)
Box 75
(Inscribed by Miranda Beeson, 1974 clipping inserted)
Box 76
(First edition; inscribed to Jack Beeson from William Saroyan)
Box 76
(Annotated)
Box 76
(Note inserted)
Box 76
(Inscribed by Jack Beeson, 1980 notes inserted)
Box 76
(Includes Captain Jinks of the Horse Marines by Clyde Fitch and The Man with the Heart in the Highlands by William Saroyan; annotated)
Box 76
(Inscribed by Jack Beeson, 1961 notes and clippings inserted)
Box 76
(Annotated)
Box 76
(Includes Sorry, Wrong Number by Lucille Fletcher; inscribed by Jack Beeson, 1994 annotated)
Box 76
(Stamped "Christopher Beeson")
Box 76
(Clippings inserted)
Box 76
(Inscribed to Jack Beeson from Sheldon Harnick, 1976)
Box 76
(Inscribed to Jack Beeson from The Fiskes, 1967)
Box 76
(Annotated throughout; clippings, facsimiles, and notes inserted)
Box 77
(Annotated; clipping inserted)
Box 77
(Inscribed by Jack Beeson, 1980 annotated)
Box 77
(Inscribed by Jack Beeson, 1990 annotated)
Box 77
(Inscribed by Jack Beeson, 1980 annotated)
Box 77
(Inscribed by Jack Beeson, 1974)
Box 77
(Inscribed to Jack Beeson from Nora Beeson, 1974 annotated; clipping inserted)
Box 77
(Inscribed by Jack Beeson, 1980 annotated; clipping inserted)
Box 77
(Inscribed by Jack Beeson, 1980 annotated)
Box 77
(Annotated)
Box 77
(Inscribed by Jack Beeson; annotated)
Box 77
(Inscribed "Used in our writing ofJinks; Col Mapleson, Jack Beeson & SH")
Box 77
(Inscribed to Jack Beeson from Nora Beeson, 1984)
Box 77
(Facsimile and re-issue; inscribed by Jack Beeson, 1991)
Box 77
(Inscribed by Jack Beeson, 1991)
Box 77
(Annotated; clippings inserted)
Box 77
(Inscribed to Jack Beeson from Miranda Beeson, 1991)
Box 77
(Note inserted)
Box 78
(2 volumes; annotated)
Item 119 Item 1
Educational edition for learning German vocabulary. Contains annotations. "Jack Beeson '38 Feb" written on cover.
Item 119 Item 2
Educational edition for learning German vocabulary. Contains annotations and named on cover.
Item 119 Item 3
A clipping from the Times Literary Supplement is interleaved in the front cover. Contains a note from "Elizabeth and Rafael" in the front cover dated 1963. Annotated "JB 2007" in Beeson's hand. Contains annotations (with Beeson's own translations) and post-it notes.
Item 119 Item 4
Contains annotations (including Beeson's alternative titles for the poems).
Item 119 Item 5
Labeled "Jack Beeson, Parma, 1959" on the first page. A flyer for a workshop of the play at Hunter College is interleaved.
Item 119 Item 6
Contains annotations.
Item 119 Item 7
Contains a note from "Sarah and Baird" on the first page. Contains annotations. Interleaved with a clipping of a review of the book in the Times Literary Supplement.
Item 119 Item 8
Book includes material about Beeson's compositions. Contains annotations. Contains post-it notes. Text is in German.
Item 119 Item 9
Labeled "Jack Beeson, 1991" on the first page. Contains annotations. Contains post-it notes.
Item 119 Item 10
Labeled "Jack Beeson, August 7, '01 (see page vii)" on the first page. Contains annotations. Contains post-it notes. Image on the back cover has been cut out.
Item 119 Item 11
Labeled "Jack Beeson: Bought in a Hagen bookstore, 1986" on the third page. Contains some annotations.
Item 119 Item 12
Contains a song by Beeson. A note from Beeson dated "Jan 27, '04" is interleaved.
Item 119 Item 13
Clippings of articles about Plant and the Nazi persecution of homosexuals are interleaved. Contains post-it notes.
Item 119 Item 14
Clippings of articles about the book are interleaved. One clipping is taped to the inside cover. Contains annotations. Contains post-it notes.
Item 119 Item 15
Labeled "Jack Beeson, Nov 30 1973 NYC" on the first page.
Item 119 Item 16
Beeson's stapled notes are interleaved. Contains post-it notes. Clipping of a review of the book in the Times Literary Supplement is interleaved.
Box 79
(Inscribed by Jack Beeson, 1962 clippings inserted)
Box 79
(Inscribed by Jack Beeson, 1962)
Box 77
(Annotated; clippings inserted)
Box 79
(Annotated; correspondence inserted)
Box 79
(Annotated; correspondence inserted)
Item 119 Item 18
Contains an article cowritten by Beeson.
Item 119 Item 19
Contains some annotations.
Item 119 Item 20
Item 119 Item 21
Contains a note from Carol Lipkin taped to the front inside cover.
This subseries contains Beeson's personal annotated, signed, or otherwise inscribed copies of scores and libretti by other authors.
Box 79
(Inscribed by Jack Beeson)
Box 79
(Inscribed by Jack Beeson)
Box 79
(Annotated on cover: "Died Wednesday September 26, 1945 New York City")
Box 79
(Facsimile of holograph; annotated)
Box 79
Box 79
Box 79
(Score and parts; inscribed to Jack Beeson from Daniel Gregory Mason,1946 and to Jack Beeson from William Bergsma, 1951)
Box 79
(Full score; inscribed by Jack Beeson)
Box 79
(Clipping inserted)
Box 79
(Inscribed to Jack Beeson from Sheldon Harnick, 1974)
Box 79
(Inscribed to Jack Beeson from Jacob Avshalomov; program inserted
Box 79
(Facsimile; note and clipping inserted)
Box 79
(Inscribed to Jack Beeson from Kenward Elmslie, 1965; clippings inserted)
Box 79
(correspondence inserted)
Box 79
(Assorted photocopies and draft pages in folder)
Series XII: Additions to the Collection
Gift of Miranda Beeson, 2013
Box 81
Box 81
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Box 96
(Also in Box 7. Piano Works. #6)
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(Remains unpublished, but represented by Boosey & Hawkes.)
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Box 112
1. Interlude: The Cadet's Song Varied (Act III) 2. Aria: Eight Noses (Act I) 3. Aria: Ballade - Duel (Act I) 4. Interlude: Battle Scene (Act III) 5. Arietta (Act I) 5. Final Scene (Act III). Mimeo from transparencies. Black board bound with white spine
Box 112
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In Blue Leather Eastman / Rochester Folder (Kept on his piano)
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Box 115
(Original Desto Tapes. Issued on Desto as LP #D-451 and on Columbia Masterworks LP #ML5265)
Box 115
(First performance, Brander Matthews Theater, Columbia University, recorded on Ampex 400A)
Box 115
(No. 2 of 2 Tapes, Premiere NET Opera)
Box 115
(Master Tapes, Kansas City Lyric Theater, issued on Desto, numbered DC7179A, DC7179B, DC7179C, DC7179D Kansas City Lyric Theater, issued on Desto, numbered DC7179A, DC7179B, DC7179C, DC7179D)
Box 116
Box 116