Category Archives: Unassigned

NEXUS WORLD TOUR – 1984 – A DIARY, Part 14. JAPAN, Takemitsu and WE.

May 25 – 10:20 AM

Finally got some sleep. Woke up at 9:30 AM but stayed in bed until John brought some vitamin C. Things a little looser this morning.

11:40 PM

Eleanor called and I was a little startled. I expected the call resulted from some trouble at home. To the contrary, she has the lawn tractor together, is expecting Ed and his friend back from Algonquin Park and, best of all, Bryce has been accepted at Fanshawe College. It was so good to hear her voice. It is time to go home.

I bought two skirts for her in the hotel boutique. Checked out cameras and calculators with Russ and Dave and we had lunch at Parco – seventh floor. No bargains in cameras these days. The Nikon F3 is well over $1000 Canadian. Calculators are good bargains. Went to a building called Wave, owned by Seibu, and containing the theater in which we play, is convenient. I am continually amazed by things and the way the Japanese do them. Eight floors of records, scores, books, tapes – and display of bird calls – very expensive – and sound effects. I could easily spend a small fortune there. The stairwells are lined with photos of Toru and original fragments of his scores – friends, photos, and memorabilia.. The concert is in Cine Vivant, a small, 185 seat movie theater in the basement. A beautiful theater. Concert is sold out and wonderful warm responsive audience with a sense of humor.

Our dressing room has cable TV and we watch a funny installment of the Muppets on English language TV. Just before we go on – first-half Rags, second half “Teddy” – just one hour. The audience, after one encore won’t stop applauding so after our last encore, Bill does his shtick of holding up his hands for silence and when the audience responses, he walks off stage. Always gets a laugh.

Asaka and Maki are at the concert. Toru asks what my plans are for the weekend and says he is coming to our hotel for two days. Maki says. “Ohhhh”  and tells me to give her father my key. I tell her that she has an American mind and what she says is jive. She blushes, Toru laughs.

Louis Hamel, Canadian Cultural Attache is at the concert and presents us with bouquets of flowers and then takes them back. Big laugh. I tell Toru I’m getting all the flowers from the people going to Kyoto and will arrange them around me in bed and spend the whole weekend watching them die. Toru loves stories like that. We will get together. It could be a very fun weekend.

Louis Hamel comes back to the hotel with us and we go to a sushi bar just behind Tobu. I can’t possibly describe the meal. A small place and there are only three men – buddies at the bar. They are all classmates of the owner and play baseball on weekends. After quite a few beers, much conversation, and compliments on our chopstick technique, we get into questions about the odd shellfish in his refrigerator. One is called Oh Gai. The owner, Yanagi, from very old family from Edo period, hits the protuberance with his finger and the thing retracts partially. It looks so much like an old shriveled penis, it’s hilarious. He brings some smaller shellfish out that are partially opened – reddish orange in color and look like vaginas. He puts a chopstick in one and it clamps on the stick. Then he lays the “penis” on the “vagina” and presents them to Joanne. He asks her to hit the penis and for once Joanne is nonplussed.

He opens a huge shell and inside is a very large scallop but with an incredible digestive tract and a reddish spleen or liver. He takes a piece of sashimi, palms it and slams his palm on the glass counter. When he removes his hand, the sashimi curls up. They are all still “alive”.

Jean asked the men to guess the oldest member of our group and they guess me. This startles everyone and John says they are the first to ever guess correctly. They explain that I am the most civilized in my eating and drinking and therefore am more experienced and older. I bow and “Domo Arigato”. We toast and applaud each other. John presents the owner and his son with marimba pins and a photo of the group which will be go on his wall. A very funny, warm, beer boozy evening. Hope I get a lot of sleep tonight.

May 26

Had coffee and morning paper with Russ. See ad for Iannis Xenakis concerts. Wonder if he is in town. Russ looks up and Iannis is sitting at a table behind us. We join him and talk of Chinese and Korean music. Will probably go to his concert tomorrow. Sylvio Gualdo is playing percussion amplifier with amplified harpsichord.

Went shopping with Russ. Just about finished except for Dorothy and I know what I want. Dinner with John, Jean, Russ at Seibu, seventh floor. Drinks later with Toru who is now with Iannis interviewing for magazine.

Miniskirts are in. Many Japanese women are knock-kneed and, from the knees down, bowlegged. Most of the baseball games I’ve seen are played on grassless infields. The Mitsubishi Gallant golf tournament was played on what appears to be a rather uninteresting course. Most of the male Japanese golfers do not seem to generate the fluid powerful body motion and hence, a seemingly slower clubhead speed and awkward appearance.

Just saw a Christine McVey rock video – nice vibe.

May 27th – 9 AM

Here in the center of Tokyo – cement – cars – people, lives a solitary raven. Each morning he walks the brick wall outside the coffee shop and his caw can be heard inside the hotel. Sunday morning early, and less traffic, my window open to the sixth floor, his caw echoes as against hills across water. He is a foot-long and he seems to be the only significant, omnipotent resident of Shibuyu. This one bird – circling the hotel makes Shibuyu small. In the paddling silence of an Algonquin river, a blue heron pounds the air and reeds in a startled take-off, and remains, still, only a fragment of the whole.

May 28 – 12:30 PM

Lunch and dinner with Toru – lunch of barbecued eel in Akasaka – dessert in Shibuyu ice cream parlor. I ask if Toru would write a piece for John and me. He is delighted, accepts and immediately suggests the title “We” (Wyre and Engelman). Toru wants John and me to give him a list of instruments for which he can write “WE”.  We both promise to practice.



Posted by on December 15, 2015 in Unassigned


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NEXUS WORLD TOUR – 1984 – A DIARY, Part 13. Japan, Takemitsu and friends.



May 22 – 10:20 AM en route to Tokyo

Did some duty-free shopping before leaving airport. Three giggly girls want to know what I have in my shoulder bag and I show them – Bob’s hand drum. Bob says,”You can have it”. She bows and takes it. I buy ginseng powder and the girl wants to sell me the store. She shows me jade earrings and knocks the price down to 1000 won when I tell her it’s all I’ve got. Also purchased a 750 mL bottle of Majuang for 3000 won. Half bottle at the hotel was 5800 won. I see an ad for Majuang wine and it says it’s made from Riesling and Muscat grapes.

12:20 PM – Narita airport and Mr. Koyanagi (Toru’s manager) after eight years – he looks good. On the bus for an hour’s ride into Tokyo. Toru (Takemitsu, composer and friend) is at the hotel.

May 23 – 1:15 PM

Welcome Shibuya Tobu – tiny prefab rooms stacked up floor after floor. It feels good to be in Tokyo again and great to see Toru. We go to the hotel bar and talk for a while and then Toru calls his favorite sushi bar for reservations. Two cabs to Ginza.  Incredible sushi. Perfect. I’ve never had sushi that can come close to this. The man behind the bar explains to me how to sharpen the Japanese knives. Finally I’ve got it together. I haven’t been wrong, but not dead on. Huge, brown, fine stone looks like woodblock.

We leave for a bar and it turns out to be the same one Toru took John (Wyre) and I to when we were here with the Toronto Symphony  – GASTRO. The Chinese firewater with the lizard in bottle is no longer there, but the vibe comes back. Great bar! Nine stools. When seated, one can lean back and rest one’s back on the wall. Jasper Johns and other artists’ work on the walls. Still sick, with headaches, sore throats and slight fevers, Russ and I order Drambuie. Unasked, the owner serves us side glasses of ice water. I’ve never had ice water chasers with Drambuie – very good. Russ and I have two before the evening ends. Bob drinks Old Parr.

Toru remarks that Japan is too far gone. Two successful. China and North Korea is hopeful. He cannot get a visa for South Korea because of his North Korean friends. He recalls congratulations on his “successful concerts” in America. He says “What do you mean successful?”  We comment that Nexus has been avoiding success for 14 years! We discussed banquets – receptions – speeches and ponder the realities.

Toru believes people now are removing themselves from sex. “Too bad”, he says. Biggest problem now is language. All talk is politics -political. He quotes John Cage’s expression “Friends for life”. I remark that it is good to get mad – really mad once in a while and he agrees. It is good in personal relations to fight but not war. “Have you ever hit Eleanor”? he asks.  “Never,” I reply and he says he has hit Asaka and he laughs and says, as he throws a fake punch, “To show you how much I love you”. Maki (Toru’s daughter) is starting comparative culture and has developed a Boston accent. (Maki stayed with Seiji Ozawa while she studied in Boston.) Toru says America has become very conservative.  Bob objects that it is just a fad. We try and run that down but the close air and booze are interfering.

While we are there, an art critic comes in (a good one according to Toru)  and later three artists. Joanne (Tod, artist)  tries to make contact but no one is really in the mood. During the cab ride back to the hotel, Bob suggests she should carry her slides with her. Joanne says she doesn’t want to act like a parent showing baby pictures.

The coasters for our drinks say GASTRO for gastronomy or gastronomic. Bob takes the pen and adds: Fidel,interitis and layout artist. Toru likes this very much and leaves the coaster on the bar opposite him before we leave. We get back to the hotel around 11:30 PM  and I call for a massage. The desk clerk says in 30 minutes. I wait an hour and call back. He said my name is not registered for massage and massage will be impossible tonight. I’m pissed off but go to sleep and pass out.

Still sick in the head, but 2 cups of Brazilian coffee get me started. Joanne and I hit the streets, but department stores are closed today. Joanne is looking for hard core Japanese pornography. Specifically, bondage. Toru says he does not know where to find this. I suggest she ask the Canadian consul at tonight’s reception. Strictly for art’s sake, of course. (During a later trip to Tokyo I found a book of photographs devoted entirely to bondage and upon returning home, I gave it to Joanne.).

Before going to bed last night, I went to the Dunkin Doughnut shop across the street and got two chocolate covered and a cup of coffee. Terrible doughnuts – coffee okay. McDonald’s is still in business down the street. The people in this area of Tokyo look like parodies of men’s and women’s clothing ads in the New Yorker.

When we arrived at the airport yesterday, we left Bill there to wait for Ruth (Cahn, wife) who was arriving three hours later. Still haven’t seen them. I guess they are out roaming. Something they like to do in every town they hit. They always get the subways together.

Joanne asks Toru if he knows where she could find an arrigata, a Japanese dildo. Toru explained that this is an old word and he did not know where to find one.  He said that years ago John Cage met a sailor who brought one back from Japan and it had a tiny bell inside. According to Toru, John said that hearing that bell made him decide to be a composer!  Toru was doubtful, but swore that is the story John told him.

12:25 AM

I’m waiting for my male masseuse here after an incredible evening with Toru, Yasanori (percussionist) and his wife Sumire, and Jo Kondo (composer).  We go to yakitori house near the hotel. Beautiful food and conversation. It is raining as we gather for reception. We need four cabs and some of us get wet hailing in Shibuya. Victor Feldbrill (conductor) and his wife, Costa Pilavachi (booking tour for NAC Orchestra) and Fred Marrich from Kori Marimbas, various embassy officials – one wife from Youngstown Pennsylvania. A rather mindless evening – lots to drink – I had glasses of Chablis – medium quality. Victor seems very happy in Japan. Toshi Ichiyanagi (composer) is there and it’s nice to see old friends.

The yakitori house dinner is the climax to this entire tour. We all feel very close and many stories are told. We sing old songs. Between Jean (Donelson), who has a remarkable memory for lyrics, and Toru, who is famous for knowing old songs, we had an evening of reminiscence. John sings “April Showers” while some conduct. The last few lines are harmonized. Much sake. Toru was born in China. He flew to Japan when he was eight years old. His parents separated – date unspecified. His mother died recently. He was in the US at the time and had to fly back. We toast friendship forever. Toru’s research into Bryce’s (my son) name is related. (To learn about Toru’s composition Bryce, see on this site, my article titled Toru Takemitsu.)

Yasunori (Yamaguchi, percussionist) and I feel very close. Last time in Tokyo, he was not in such good shape. Now he is father of a boy, Toma (winter horse) and his wife Sumire is a great keyboard player (marimba). Toru says son must be a percussionist.  I tell Jo and Yasunori I will give them ginseng. It is very expensive in Japan so will be a good gift. Toru says when you reach 50 years, happiness comes. He repeats that he is free of sex – free of everything. Most of us say we are not free of sex. Very drunk, we close the place and walk back to hotel in the rain. Jo, Yasunori and Sumire have missed the last train and have to take taxis. Jo lives in Kamakura. I get my massage by male masseuse. Very firm, sometimes very painful. My neck was particularly tight and I go to sleep as soon as he leaves.

May 24 – 9:10 AM

Woke up coughing at 6 AM. The phlegm in my throat is like glue. Have two coffees with my Japan Times “All the news without fear or favor” and slide it under Russell’s door. Black drummer with orange shades leads the band on kiddies TV show. He is also one of the hosts. Speaks perfect Japanese. This morning we meet with representatives of Yamaha to learn if they are interested in supporting Nexus with some of their electronics in return for our endorsement. Then we rehearse in theater – other side of Meiji Shrine for our concert tonight. This concert is not part of Music of Today, but was arranged by Toru’s manager. Music of Today starts on the 29th. At 10 AM we had a meeting with Mr. Takeguchi, manager of R&D for Yamaha. We told him what we wanted in electronic percussion instruments. We will visit Yamaha tomorrow morning to play their instruments. Very interesting discussion. He understands problems of attack – sound – duration – overtones and is trying to sell Yamaha on developing this field. He was happy to have spoken with us. We help to confirm his approach to the company.

After meeting, Russ, Dave (Campion, roadie) and I have tempera lunch at the hotel. Dave buys. Now we go rehearse – meet with Kori people and play concert. Nice hall, but strange separation of sound on stage. Each of us feels isolated, but sound quality is good. Toru programmed the concert for us: Drumming, Part 1; Reich’s Music for Pieces of Wood and Marimba Phase;Takemitsu’s Rain Tree; Intermission, Cage’s Third Construction; some Rags and the silent film, Teddy at the Throttle. No translator for Teddy. Toru says most Japanese read English but do not speak. Fred Marrich and people from Kori are at concert as well as Victor Feldbrill and his wife, Louis Hamel and his wife, and local drummers. Much applause for Toru’s piece. Long applause after concert. Three bows and encore of Xylophonia.

Fred Marrich was with us all afternoon and evening.  Also Toru.  Asaka came to the concert and is speaking English very well.  After concert, we go to a Spanish restaurant for a beautiul meal.  Costa Pilavachi accompanies us.

A friend of Bob’s owns a vineyard and bottles red and white wine under his own label. He gives Bob a bottle of red and Bob leaves it at the hall and notices only when we get out of the cab at the restaurant. The owner of the restaurant asks for our autograph. Toru writes Nexus in Japanese characters and signs his name in a like manner. Then we all sign and John asks me to draw a drum. Finally, Toro writes NEXUS. The card is pretty well filled up by the time we’re finished. We’ve drunk 15 bottles of beer and Toru ordered garlic soup for Russ, Bob and me. He says it will help Shanghai flu. I was soaking wet after the Cage and wondered if I’d make it through the rest of the concert. Actually it felt good afterwards to have sweated that much.  Tomorrow we play Cine Vivant, a tiny movie theater, book and art store in Roppongi district. We will play a few rags and Teddy. Just one hour. They have displays of Toru’s scores and photos of him as a child and with Cage and Ichiyanagi in the early 1960s. It should be interesting and a lot of fun.



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Posted by on December 2, 2015 in Unassigned


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Late Night Travels with Jesus in West Virginia.

During the mid twentieth century, very few automobiles traversed western Maryland at night.  People ate dinner at home and stayed home. The narrow, shoulderless roads west of Cumberland had been constructed atop 18th and 19th century cow and wagon trails. With no overhead illumination, no moon, no stars, not even the pale glow from a distant city, one was wise to drive carefully.

Our cocoon in this blackness, was a1950’s vintage V8 Buick Woodie station wagon. Its driver and my caving partner and I were headed towards Shephardstown, West Virginia to spend the night with a fellow spielunker who was to introduce us to some of the local area caves. As if wearing an underwater mask, our view of the Buick’s cockpit was an oval that showed only some dashboard lights and through the windshield, a mesmerizing vision of our two headlights, glaring orbs that jiggled  threateningly, but never seemed to advance; a scene that kept our eyes wide open, always straining to see beyond.

When conversation lagged and only automobile sounds filled our black void, we’d turn on the radio and dial up station WWVA, Wheeling, West Virginia. A font of country music, gospel and evangelical preaching.

During any week day evening, one could rely on hearing men preach the virtues of Jesus Christ. These men, each in their unique way, had only a few minutes to grasp their audience and reaffirm Christ the Saviour’s ability to redeem a life born of sin, wash those sins away, heal a life of uncertainty and fear, and save souls for eternity. Life Everlasting at the right hand of God the Father.

They were preaching to the converted. Their Gospel and evangelical audiences did not need to be convinced of Christ’s mercy as much as having it reaffirmed, regularly. Then as now, West Virginia was one of the poorest states in the U S. Many of its people endured lives of hard work and poverty. Jesus Christ was, if you will, their emolument.

Almost every one of these religious shows featured music. Hammond organs and pianos were popular solo instruments or accompaniments for singers, small choirs, a soprano, tenor or bass. The music was well played by the bye.

Firmly rooted upon a scriptural foundation, the sermon was the keystone of the preacher’s quarter hour.  And it was often entertaining. He might begin with a simple gospel text and within a few sentences be somewhere in outer space, far, far gone. Though the credulity of an unconverted listener might begin to unravel, the preacher’s voice compelled attention. Sure enough, believer and sceptic alike would arrive back in Wheeling, emboldened and somehow understanding what the point of the sermon had been.

There were moments devoted to speaking in tongues, ala today’s Robert Tilton. This form of verbal expression is cited in the Bible and I believe, used on these broadcasts to verify the preachers religious credentials. Then, once or twice an hour a Praise God Almighty-Cast Out the Devil-Slap the Pulpit and Praise Jesus Sermon would erupt from the Buick’s speakers to remind us what Fire and Brimstone meant. These rants were often uninteresting unless we were lucky enough to hear one recorded before a black congregation. Then we’d have to watch our speed. A polyphony of shouting, stomping, clapping, singing, yelling, cries, responses, tambourines, drums and guitars. Oh my.

And, last folks, send your blessings in to keep this ministry on the air. A vial of coloured liquid blessed by the Reverend, Pastor, Minister or Brother himself might be sent to you along with a copy of his latest thoughts on “How Jesus Saves Souls”. They could charm a cold water bi-valve into opening its shell to present its life’s flesh as an offering.

At the time all this was a hoot. Riveting, but still a hoot. Years later I saw Tammy Faye Bakker (1942-2007), her mascara and her eyelashes, Benny Hinn’s hairdo and Jimmy Swaggarts tears. But there was no mystery in those folk. They were on TV and their religious messages were lost amongst tacky furniture, tacky schticks and bad acting. They couldn’t hold a votive candle to my line up.

The West Virginia radio clan had provided me with hours of entertainment, wonder, befuddlement, humour and amazement, some of them unforgettable. I pictured most of them in a spartan cinder block radio studio eeking out a living in the Pan Handle. Tacky never entered my mind. “Goodness Gracious” as my Grandmother used to say, these guys were good.  I’d never join their flock, but I admired their oratorical skills. I could feel the comfort they beamed out over WWVA through the night.

I’ve not tried hooking up with WWVA since the late 1950’s but in preparation for this article I visited their web site. They have a Babe of the Day photo and an archive of past Babes. One can click on the Newser, Read Less Learn More and Glen Beck, Rush Limbaugh and Sean Hannity each have 3 hour consecutive segments from 9:00 am till 6:00 pm. When I typed in Religion, I was sent to iHeart Radio which appeared to be recorded Christian music. To listen, one has to sign in with name, e-mail and password. I wondered where old evangelists go. To Heaven?

A friend sent me  a video clip of John Oliver’s recent excoriation of Tele-Evangelists who promise  cures for cancer and lupis if their viewers Planted Seeds, a euphemism for sending them money. After watching, I kinda felt like apologizing to John for the hold my old evangelists maintain on me, but I didn’t. I have no reason to apologize.

Instead, I called John Oliver’s Our Lady of Perpetual Redemption hotline and heard John’s latest request for a peace offering. Toll free: 1-800-844-7475.

How is everyone?



Posted by on September 19, 2015 in Unassigned


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Art of Time Ensemble

In early 2015, a spate of high quality concerts rarely seen in Toronto, began with the Art of Time Ensemble. On the stage of Harbourfront Centre Theatre, they presented music by Lou Reed, interpreted by some of Canada’s finest arrangers, instrumentalists and singers. Art of Time Ensemble is the creation of its artistic director, pianist Andrew Burashko, a passionate and informed communicator with a love for music that stretches far beyond the borders commonly thought to demarcate music categories.

Andrew’s programs are based on themes. For a 2013 programme titled Franz Schubert, Source and Inspiration, composers of Jazz and Art music were commissioned to arrange for voice and ensemble, a theme from Franz Shubert’s
Piano Trio No. 2 in Eb Major. The trio was played first and then the arrangements were performed by five singers, Carol Pope (Rough Trade), Andy Maize (Skydigers), Gregory Hoskins, John Southworth and Danny Michel.

Andrew often commissions Toronto arrangers, a diverse group of superlative musicians who, though relatively unknown to the general public, never fail to astonish audiences with their ability to bring fresh perspectives to popular war horses. Fortunately, Art of Time is recording many of their pearls.

An Art of Time programme titled What is Sacred, began with Arvo Part’s Stabat Mater, followed by three superb arrangements of songs with religious themes: Wayfaring Stranger, arranged by Gavin Bryars; Pilgrim; and You Are Not Alone. After intermission, Olivier Messiaen’s Louange A L’Eternite De Jesus from his Quartet for the End of Time, and a medley of African American spirituals and Oscar Peterson’s Hymn to Freedom were sung, revival style, by Jackie Richardson.

The evening closed with a beautifully subtle and complex interweaving of six female dancers, choreographed by David Earle to the Miserere by Gregorio Allegri (1582-1652).  The Miserere was hauntingly sung by Choir 21 as they stood like angels in the first balcony, sending heavenward Allegri’s plea. All this was much too sublime to be followed by anything else.

Attempts to merge art forms have been vulnerable to dismissal by purists or outright failure in the public marketplace. But Andrew does not merge art forms. He respects their individuallity and his classical discipline protects them from being mistreated. An idea must pass through a stringent artistic filter before it blossoms on an Art of Time stage.

In the twenty years from 1970 to 1990, a few elite ensembles, devoted to mostly white western art music, received the majority of government money. Toronto ensembles have favoured repertoire from one of roughly five established genres of westrn art music: opera, ballet, symphony, choral and chamber. They must submit mission statements in order to be eligible for government funding. These statements put them into a bureaucratic niche that can obligate them to a particular repertoire.

In the the 1990s government arts agencies began to realign their financial priorities in response to social and political pressures, gradually achieving more balanced funding by region and favouring emerging composers, pop music, First Nations musicians, and other minority groups. Each re-allocation made the financial pie  smaller, dramatically reducing art music budgets. The recent economic down turn exacerbated a feeling of uncertainty within the arts community. Some ensembles reduced the number and frequency of their concerts, limited or re-directed their programme choices, greatly reduced the fees paid to musicians and began exploring ways to work with other ensembles.

In conjunction with his many artistic friends, Andrew is creating fresh concert experiences for traditional Toronto audiences while attracting new concert goers, young and old, hip and staid. The effect this generational blend has on audiences is immediately apparent. As one takes a seat for an Art of Time concert, there is a frisson in the air rarely felt in other venues. So far Andrew has avoided the malady of uncertainty afflicting other Toronto arts organizations. His large and ever growing audience, aided by a group of faithful collaborators and sponsors, portends a long and healthy future. Andrew’s unique artistic love affair has captured the imaginations of artists and concert goers. Concerts by Art of Time Ensemble have become one of Toronto’s most popular sources of art entertainment.

I encourage readers of this article to visit Art of Time Ensemble web site for a complete list of its programmes, artists and videos.





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Seiji Ozawa in Toronto

The Japan Foundation of Toronto recently held a celebratory event honouring the 50th anniversary of Seiji Ozawa’s arrival in Toronto as conductor of the Toronto Symphony Orchestra. Toshi Aoyagi, the Foundation’s director of Japanese projects, displayed a large and interesting variety of photos from those early years, including a photograph of Seiji looking astonishingly young, and a giant black and white photo showing all the players, easily identifiable, on the stage of Massey Hall, its performance venue until 1982. Toshi also prepared sushi, sashimi and California rolls for 50 guests. In attendance were members of Toronto’s arts community including  the Symphony’s long time manager Walter Homberger who had played an important role in bringing Ozawa to Toronto. Also included among the guests were current and former members of the T.S.O.

åSome of the veteran players who were asked to speak briefly about their early experiences with Seiji were principal flutist Robert Aittken; principal harpist Judy Loman; myself, principal percussion; cellist Richard Armin and double bassist Ruth Budd. We had not known beforehand we’d be called upon so our comments were a bit skittish, even disjointed, but it was clear to all that Seiji  had been a respected and in some cases, a beloved maestro.

in the earliest days of Seiji’s tenure, he had some difficulty with the English language. Though we became rather close, as close as a conductor and player could or should be, he was never able to pronounce my first name Robin, because of the R. So he always called me Engelman. Of course given the Japanese order of names, correctly Ozawa Seiji, he was perfectly correct to call me Engelman, particularly when we were in Japan. Judy Loman told a wonderful story from those days. Seiji introduced her as  Mary Loman, harpist and when the orchestra laughed, Seiji turned to someone and said, “She plays harp doesn’t she?”.

I was always impressed by the acuity of Seiji’s ears and told two stories. We were rehearsing one of the Ravel’s Daphnis and Chloe Suites down on the lake under an open tent. There were thousands of seagulls squawking and swooping and dropping bombs, young children laughing, screaming and running around, airplanes taking off and landing at the small nearby airport, tour boats blaring music for parties and the ferryboats back and forth between the mainland and the islands. An impossible acoustic situation with the Ravel beginning so quietly. I couldn’t hear the contra basses to the left of me and the orchestra pianist Patricia Krueger, playing celeste, was only about 20 feet to my right. After less than two bars Seiji stopped and said, “Patty, put the pedal down”.

After Toronto, Seiji conducted in San Francisco and then the Boston Symphony. Karel Ancerl succeeded him in Toronto and when Ancerll died in mid season, Seiji came back to conduct a concert or two to fill in while the Toronto Symphony management scramble to fill their seasons concerts with conductors. Seiji programmed music from his first concert in Toronto in 1965. One of the works was Sergei Prokoffiev’s Fifth Symphony, at times densly orchestrated. Seiji was back among friends and obviously wanted to show us how he had progressed. He leaped onto the podium and after a friendly hello began conducting. After the break Seiji came back to the podium and waved to Johnny Cowell the second trumpet, “Johnny, 3 bars before H, don’t breathe after fourth beat. Take breath after second beat next measure”.

One of the things I always liked about Seiji was the fact that he rarely talked in rehearsal. Some players didn’t like this. They wanted to be told how to play, but Seiji said, “I conduct, you play”. Seiji believed questions of ensemble and string bowings were the provenance if principal players. Another collegial aspect was his willingness to share the act of re-creating music with the players.

After he programmed Ives’ 4th Symphony, Seiji asked me, “How shall we do last movement?”  The percussion section must play a quiet, nine bar ostinato, holding a steady tempo during the entire movement while the rest of the orchestra winds its way through a number of tempo changes and dynamics. As the orchestra finishes, the percussion section plays one cycle in diminuendo, ending the movement. Seiji wanted to know if the percussion section wanted him to  conduct them or ignore them. No decision had been made by the time Seiji walked on stage. As the audience applauded, he stopped by my side and said, “Well?”.  I said. “Conduct the orchestra.” “Okay” Seiji replied.  As we had earlier discussed, the percussion section, by Ives’ calculations, would ideally have 9 measures remaining after the orchestra finished. Otherwise, if we concentrated and kept track, the farthest afield we’d drift would probably be in the range of 10 or 12 measures. We were just about dead on.

Seiji conducted the Boston Symphony Orchestra for twenty nine years. He wanted to break Serge Koussevitzkyi’s record of twenty five years. Vic Firth, Seiji’s close friend and timpanist of the B.S.O. told me when Seiji heard he was going to retire, Seiji called and said, “Vic, don’t retire now, stay until you make 50 years!”. Vic made it.

Toronto was Seiji’s first job as conductor and music director.  Since then he has become a national treasure in Japan. I’ve always thought that Seiji did his best work with contemporary music. I heard, but cannot confirm that his management dissuaded him from conducting contemporary music. However, a composer friend told me he’d overheard a conversation wherein Seiji was told by his manager not to conduct my friend’s music anymore. And so he seemed to do.

My first year in the orchestra we played Charles Ives Symphony No. 4, the Lutoslawski Concerto for Orchestra, Iannis Xenakis’ Pithoprakta, (conducted byJames Levine, no less) for 46 string instruments, two trombones, xylophone, and woodblock, about a half a dozen works by Takemitsu, a recording of Takemitsu’s music, Gunther Schuller’s 7 Studies on Themes of  Paul Klee and a number of other works I cannot now remember.  I missed playing Olivier Messiaen’s Turangalila Symphony by one year. The excitement was palpable every time Seiji conducted. I was working with a conductor only two years older than myself – one who genuinely enjoyed new music and made audiences enjoy it as well.

During Seiji’s tenure, I looked forward to rehearsals and performances. He was a conductor I never had to watch. Simply by listening, I knew where the music was going. If a player extended a note a bit longer then usual, Seiji would accept that and the piece would change.

Seijii Ozawa, Toronto, 1969

Seijii Ozawa, Toronto, 1969

Seiji Ozawa, 2011.

Seiji Ozawa, 2012.





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NEXUS WORLD TOUR– 1984 – A DIARY, Part 8. – Kwang Chao



May 13, 8 AM

Commercials on television here in Shanghai, some with rock music! Guy told us that the government took a nationwide poll to determine the most popular singer in China. The winner was a girl from Taiwan who sings rock so the politicians changed the results in favor of China’s most popular girl singer who sings patriotic songs. The people know the real results. The propaganda in China is mostly in the form of slogans on billboards ” One baby” and “Work to keep production….”.  Kwan Chao says she hates the slogans. Many things are the same the world over.

A great respect is building in me for  the Chinese people. After all the pain they have been through they remain civil to foreigners and they’re  building everywhere and continuously to provide housing. There are horror stories, everyone has them, but the Chinese seem genuinely interested in themselves whereas the Russians seem more concerned about others. Canadians hope that people think about them. Americans don’t care.

In Beijing, the publicity did not mention Nexus. We wewre billed only as a “Canadian percussion ensemble”. We’ve seen an ad in Shanghaithat refers to Nexus. Official tours are cloistered. Guided trips – concerts. The Chinese say they want criticism. But we have no opportunity for one-on-one musical discourse. There is an American flute teacher in Beijing. We saw an ad for a concert by him and his students. If the Chinese are interested, thy could use some help. Their conception of Western percussion is strange and that is to be expected. It would be useful to me and them if we could have some sessions with their players while we are here.

This is our first trip and such arrangements could be negotiated on another trip. Such sessions would make me feel more useful. Something else which we just became aware of. When I was shopping for silk with Russell we met a girl who had been in China for two years. She graduated from Wesleyan a few years after Russell. She said that on official tour such as ours, the concert tickets are usually distributed to selected people well in advance of the concert. Few citizens have a chance of getting in. 150 tickets for concert were allocated to the Canadian Embassy.

I am watching the test pattern on TV. Beethoven’s Fifth Symphony is playing. Turned it on in the middle of the third movement.

11 PM

The Chinese name for their country is the Zhong Guo – the center of the world

Before our concert tonight we met with the local cultural leadership, conductors and performers in a small room off the main hall. The vice president of culture for Shanghai is a lovely woman – very heavy and short who looks to be in her mid-60s. A pianist who is going to Canada at the end of May is next to me – very dour.

Towards the end of “Raintree” someone near the back of the audience let out a huge yawn and breaks the audience up. They keep laughing almost to the end.  We finally learned why everyone laughs when we play Reich’s ” Music for Pieces of Wood”. The claves are instruments used by monks in meditation. The Chinese associate all music with images. Everything is programmatic. They cannot comprehend abstractions. Hence,” The Birds” is understandable and humorous. The rest of our program they just enjoy looking at our instruments.

The names of composers are indecipherable. John Cage does not translate except by sound. They love individual sounds – the Lions roar – ratchet– bamboo devilchasers – rattles, but they do not respond to the energy and flow of lines.

A frequent question asked of us is: What does this instrument represent?”  Overall, the concert is very warmly received. There are calls for encores but the leadership is already making its way on stage for group photos behind the back bouquet of flowers. The audience, unlike Beijing, stay standing and applauding while we gather four congratulations and pictures.  Much applause.

The curtain is lowered and we have some moments to talk with individuals. The pianist looks as if he’s been shit on and doesn’t stay very long. He’s into Mozart and Beethoven and just can’t stand being around. It must have been very hard for him. Everyone else is generally moved by the performance and the conductor of the Shanghai Symphony is beaming because our Chinese mallet tune is Cantonese and so is he. The vice president says we truly capture the spirit of the Chinese people and our performance of that piece. Many photos and we hang around in small groups conversing – a very successful evening.

At the bar, Guy tells us that  Andre Ouillet, Canadian Minister for labor is asked if he wants to see the pandas. He reluctantly agrees and the party arrives early in the morning when the pandas are still asleep. He complains about getting up early and traveling all this way and all the panda is doing is lying there. The Chinese send a man to probe the bear with a long stick the band grumbles, gets up, moves a few feet towards Quillet, and curls himself on the  ground to go back to sleep. Ouillet swears and throws his cigar at the bear. The Chinese are amazed. KWang Chao wants to defect. At the bar we plan strategy. kwang Chao has given Joanne self addressed envelopes so that she can remain in contact and be sent Canadian forms. Guy believes the Chinese may already suspect her intentions so things must go slowly. Bob Aitken, Jim Campbell et al. arrive in September and will pass on certain sponsorship documents to her. She told Jean that she would be willing to marry anyone in Nexus if that would help her. Stay tuned for the next installment in the continuing saga of Kwang Chao.

it is now one minute till midnight. Tomorrow night is our last concert in China.

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Posted by on January 23, 2015 in Unassigned




Composer Composition Publisher Dimensions (in.) Num of Copies (1 unless noted otherwise) Cover (Paper unless noted otherwise) Minor Damage
1 Auber Fra Diavolo – Overture Southern Music 7.5 x 10.5
2 Bach, C.P.E Concerto for Orchestra in D major Broude Bros. 7.5 x 10.5
3 Bach, J.S. 6 Brandenburg Concertos Vols. 1 and 2 Lea Pocket Scores 5 x 6.5
4 Bach, J.S. 185 4-Part Chorales Lea Pocket Scores 5 x 6.5 3
5 Bach, J.S. 371 4-Part Chorales – Vol 1 – Nos. 1-198 Kalmus 14 x 9
6 Bach, J.S. Art of the Fugue Kalmus 8 x 11
7 Bach, J.S. Cantata No.21 Broude Bros. 5.5 x 7.5 Board
8 Bach, J.S. Cantata No.39 Broude Bros. 5.5 x 7.5
9 Bach, J.S. Cappriccio in Bb Major on the Departure to Distant Climes of His Dearly Beloved Brother Kalmus 10 x 13.5
10 Bach, J.S. Goldberg Variations (Ed. Hans Bischoff) Kalmus 10 x 13.5
11 Bach, J.S. Italian Concerto (Ed. Hans Bischoff) Kalmus 10 x 13.5
12 Bach, J.S. Mass in B Minor (The High Mass) Ernst Eulenburg 5.5 x 7.5
13 Bach, J.S. The St. Matthew Passion Dover 6.5 x 8.5
14 Bartok Contrasts for Violin, Clarinet and Piano Boosey and Hawkes 5.5 x 7.5 Board
15 Bartok First Rhapsody (Folk Dances) for Violin and Orchestra Boosey and Hawkes 5.5 x 7.5 Board
16 Bartok Piano Concerto No.1 Boosey and Hawkes 5.5 x 7.5
17 Bartok Piano Concerto No.3 Boosey and Hawkes 5.5 x 7.5 Board
18 Bartok Sonata for 2 Pianos and Percussion Boosey and Hawkes 5.5 x 7.5 Board
19 Bartok Violin Concerto Boosey and Hawkes 5.5 x 7.5 Board
20 Beethoven 17 String Quartets Vol.3 – Op.74, 95, 127, 130. Lea Pocket Scores 5 x 6.5
21 Beethoven 17 String Quartets Vol.4 – Op.131, 132, 135, 133. Lea Pocket Scores 5 x 6.5
22 Beethoven Fantasy for Piano, Chorus and Orchestra Ernst Eulenburg 5.5 x 7.5
23 Beethoven Overtures: Coriolan; Egmont; Fidelio; Leonore 1, 2, 3; Prometheus. Edward B. Marks 9 x 12
24 Beethoven Piano Concerto No.1 Boosey and Hawkes 5.5 x 7.5
25 Beethoven Piano Concerto No.2 Boosey and Hawkes 5.5 x 7.5
26 Beethoven Piano Concerto No.3 Boosey and Hawkes 5.5 x 7.5
23 Beethoven Piano Concerto No.4 Ernst Eulenburg 5.5 x 7.5
29 Beethoven Piano Concerto No.5 Boosey and Hawkes 5.5 x 7.5
30 Beethoven Symphony No.1 Ernst Eulenburg 5.5 x 7.5
31 Beethoven Symphony No.1 Penguin 8 x 5 *
32 Beethoven Symphony No.2 Ernst Eulenburg 5.5 x 7.5
33 Beethoven Symphony No.3 Heugel and Co. 5.5 x 7.5
34 Beethoven Symphony No.4 Ernst Eulenburg 5.5 x 7.5
35 Beethoven Symphony No.5 Ernst Eulenburg 5.5 x 7.5
36 Beethoven Symphony No.5 Penguin 8 x 5 *
37 Beethoven Symphony No.6 Ernst Eulenburg 5.5 x 7.5 Board
38 Beethoven Symphony No.7 Ernst Eulenburg 5.5 x 7.5 Board
39 Beethoven Symphony No.8 Ernst Eulenburg 5.5 x 7.5 Board
40 Beethoven Symphony No.9 Ernst Eulenburg 5.5 x 7.5
41 Beethoven Violin Concerto Boosey and Hawkes 5.5 x 7.5
42 Berg 3 Orchestra Pieces, Op.6. Philharmonia 5.5 x 7.5
43 Berlioz Damnation of Faust Heugel and Co. 5.5 x 7.5
44 Berlioz Harold in Italien Ernst Eulenburg 5.5 x 7.5
45 Berlioz Requiems of Mozart and Berlioz. Edward B. Marks 9 x 12
46 Berlioz Roman Carnival Overture
47 Berlioz Symphonie fantastique Ernst Eulenburg 5.5 x 7.5 Board
48 Bernstien Serenade for Solo Violin, String Orchestra, Harp and Percussion. G. Schirmer 7.5 x 10.5
49 Bernstien Symphony No.2 “The Age of Anxiety” for Piano and Orchestra G. Schirmer 7.5 x 10.5
50 Bizet L’Arlesienne. Suite No.2. Ernst Eulenburg 5.5 x 7.5
51 Bloch Schelomo G. Schirmer 7.5 x 10.5
52 Boulez, P. le marteaux sans maitre. Universal Edition 7 x 9.5 Some water damage on cover and title page.
53 Brahms Hungarian Dances Nos. 1, 3, 10. Kalmus 5.5 x 7
54 Brahms Symphony No.1. Ernst Eulenburg 5.5 x 7.5 Board
55 Brahms Symphony No.2 Boosey and Hawkes 5.5 x 7.5 Board
56 Brahms Symphony No.3 Boosey and Hawkes 5.5 x 7.5 Board
57 Brahms Symphony No.4 Ernst Eulenburg 5.5 x 7.5
58 Brahms Variations on a Theme by Haydn Boosey and Hawkes 5.5 x 7.5 Board
59 Brahms Violin Concerto in D Penguin 8 x 5
60 Bruch Violin Concerto, Op.26. Ernst Eulenburg 5.5 x 7.5 Board
61 Britten Four Sea Interludes Boosey and Hawkes 5.5 x 7.5
62 Britten Noye’s Fludde, Op.59. Boosey and Hawkes 5.5 x 7.5
63 Britten Serenade, Op.31 Boosey and Hawkes 5.5 x 7.5
64 Britten Soirees musicales Boosey and Hawkes 5.5 x 7.5
65 Chabrier Espana Ernst Eulenburg 5.5 x 7.5
66 Cherubini Requiem Ernst Eulenburg 5.5 x 7.5
67 Colgrass, M.
68 Copland Appalachian Spring (reduced) Boosey and Hawkes 5.5 x 7.5
69 Copland Appalachian Spring (full) Boosey and Hawkes 7 x 10.5
70 Debussy Afternoon of a Faun Kalmus 5.5 x 7
71 Debussy Iberia Durand and Co. 6 x 8.5
72 Debussy La Mer Ernst Eulenburg 5.5 x 7.5
73 Debussy Petite Suite Durand and Co. 6 x 8.5
74 Debussy Three Nocturnes Boosey and Hawkes 7 x 10
75 Dvorak Cello Concerto Statni Nakladatelstvi (Czech) 5.5 x 7.5 Board
76 Dvorak Piano Concerto in G minor Statni Nakladatelstvi (Czech) 5.5 x 7.5 Board
77 Dvorak Scherzo Capriccioso Statni Nakladatelstvi (Czech) 5.5 x 7.5 Board
78 Dvorak Symphony No.2/7 in D minor N. Simrock 5.5 x 7.5
79 Dvorak Symphony No.4 in G Ernst Eulenburg 5.5 x 7.5 Board
80 Dvorak Symphony No.9. “New World” Pro Art Publications 5.5 x 7.5
81 Dvorak Violin Concerto Ernst Eulenburg 5.5 x 7.5 Board
82 Elgar Enigma Variations Ernst Eulenburg 5.5 x 7.5
83 Franck Symphony in D minor Boosey and Hawkes 5.5 x 7.5 Board
84 Genzmer, H. Concerto for Flute and Orchestra Edition Schott 6 x 9 Cover stained
85 Gershwin Rhapsody in Blue (with Jazz Ensemble) (orch. Grofe) Salabert 5.5 x 7.5
86 Glazunov Violin Concerto M. P. Belaieff 5.5 x 7.5 Board
87 Glinka Russlan und Ludmila Ernst Eulenburg 5.5 x 7.5
88 Gluck Mozart and Gluck Overtures: Mozart: Abduction from the Seraglio; Cosi fan Tutti; Don Giovanni; Idomineo; The Impresario; Magic Flute; Marriage of Figaro; Clemenza di Tito. || Gluck: Alceste; Iphigenia in Aulis (ending by Mozart; Iphigenia in Aulis (arr. Wagner); Orpheus and Eurydice. Edward B. Marks 9 x 12
89 Grieg Peer Gynt. Suite No.1. Kalmus 5.5 x 7.5
90 Handel 16 Concerti for Organ and Orchestra Vol.1, Nos.1-8. Lea Pocket Scores 5 x 6.5
91 Handel Ode for St. Cecilia’s Day (1739). Praise of Harmony. Lea Pocket Scores 5 x 6.5
Handel Der Messias Edition Peters – Leipzig 5.5 x 7.5
92 Handel The Messiah (Vocal Score) G. Schirmer 7 x 10.5
93 Handel The Water Music Ernst Eulenburg 5.5 x 7.5
94 Haydn Cello Concerto in D, Op.101. Broude Bros. 7.5 x 11
95 Haydn The Creation (Die Schopfung). Breitkopf and Hartel 9 x 12 Hardcover Conductor’s Score – Inquire about price.
96 Haydn The Seasons (Die Jahreszeiten). Breitkopf and Hartel 9 x 12 Hardcover Conductor’s Score – Inquire about price.
97 Haydn Symphony in D. “La Chasse” (Full score w/ pno reduction (2 hands)) Southern Music 7.5 x 11
98 Haydn Symphony No.4 (101) in D major. “The Clock” Boosey and Hawkes 5.5 x 7.5 Board
99 Haydn Symphony No.11 (100) in D major. “Military” Boosey and Hawkes 5.5 x 7.5 Board
100 Haydn Symphony No.16 (?). “Oxford” (Full score w/ pno reduction (2 hands)) Southern Music 7.5 x 11
101 Haydn Trumpet Concerto in Eb Boosey and Hawkes 5.5 x 7.5 Board
102 Henze Funf neapolitanische Lieder fur mittlere Stimme und Kammerorchester. Edition Schott 6 x 9
103 Hindemith Sinfonische Metamorphosen B. Schott’s Sohne/Mainz 5.5 x 7.5 Board
104 Hindemith Symphonie. Mathis der Maler. Edition Schott 5.5 x 7.5
105 Ives Piano Sonata No.2 “Concord, Mass; 1840-60” Kalmus 5 x 7
106 Ives Scherzo (Over the Pavements). For Chamber Orchestra. – Parts (marked in pencil) Peer International Corp. 9 x 12
107 Ives Symphony No.2. For Large Orchestra. Southern Music 9 x 12
108 Janacek Sinfonietta Philharmonia 5.5 x 7.5
109 Kabalevsky Colas Breugnon Leeds Music Corp. 5.5 x 8.5
110 Kabalevsky The Comedians Leeds Music Corp. 6 x 9
111 Khachaturian Cello Concerto – Piano Reduction and solo part (separate) Leeds Music Corp. 9 x 12
112 Khachaturian Gayne Ballet. Suite No.1. (Sabre Dance; Lullaby: Dance of the Rose Maidens.) Leeds Music Corp. 6 x 9
113 Kodaly Hary Janos Suite. Universal Edition 10.5 x 12 Cover taped; otherwise v.g.
114 Liszt Les Preludes Philharmonia 5.5 x 7.5
115 Liszt Piano Concerto No.1 Eb. “Le Triangle” : ) Ricordi 5.5 x 7.5
116 Mahler Symphony No.1 Ernst Eulenburg 5.5 x 7.5
117 Mahler Symphony No.2 Kalmus 7 x 10.5
118 Mahler Symphony No.3 Universal Edition 7 x 10
119 Mahler Symphony No.4 Kalmus 5.5 x 7.5
120 Mahler Symphony No.5 Edition Peters 5.5 x 7.5
121 Mahler Symphony No.6 Ernst Eulenburg 5.5 x 7.5
122 Mahler Symphony No.7 Dover 8.5 x 11
123 Mahler Symphony No.9 Universal Edition 7 x 10
124 Mendelssohn A Midsummer Night’s Dream Ernst Eulenburg 5.5 x 7.5
125 Mendelssohn The Hebrides Overture Ernst Eulenburg 5.5 x 7.5
126 Mendelssohn Symphony No.4 in E. “Italian” Boosey and Hawkes 5.5 x 7.5 Board
127 Messiaen Oiseaux exotiques Universal Edition 7 x 9.5
128 Messiaen Quartet for the End of Time Editions Durand et Cie. 6 x 8.5
129 Milhaud La Creation du Monde Durand and Co. 7 x 9
130 Milhaud Suite francaise MCA Music 6 x 9
131 Mozart Don Giovanni (full score) Ernst Eulenburg 5.5 x 7.5
132 Mozart Mozart and Gluck Overtures: Mozart: Abduction from the Seraglio; Cosi fan Tutti; Don Giovanni; Idomineo; The Impresario; Magic Flute; Marriage of Figaro; Clemenza di Tito. || Gluck: Alceste; Iphigenia in Aulis (ending by Mozart; Iphigenia in Aulis (arr. Wagner); Orpheus and Eurydice. Edward B. Marks 9 x 12
133 Mozart Piano Concerto in Eb major, K.482. Heugel and Co. 5.5 x 7.5
134 Mozart Piano Concerto No.11 in F major. Broude Bros. 8 x 10.5
135 Mozart Piano Concerto No.21 in C major. Broude Bros. 8 x 10.5
136 Mozart Piano Sonatas and Fantasies, Vol.2 – K.331, 332, 333, 475, 457, 545, 570, 576, 394, 396, 397, 533, 494. Lea Pocket Scores 5 x 6.5
137 Mozart Requiems of Mozart and Berlioz. Edward B. Marks 9 x 12
138 Mozart Symphony in D without Menuet, K.504. Ernst Eulenburg 5.5 x 7.5 Board
139 Mozart Symphony No.35 in D. “Haffner” Boosey and Hawkes 5.5 x 7.5 Board
140 Mozart Symphony No.39 in Eb. Penguin 8 x 5
141 Mozart Symphony No.40 in G minor Kalmus 5.5 x 7.5 Board
142 Mozart Symphony No.41. Broude Bros. 8 x 10.5
143 Mussorgsky Night On the Bare Mountain Ernst Eulenburg 5.5 x 7.5
144 Mussorgsky Picture at an Exhibition (orch: Ravel) Edition Russe de Musique 5.5 x 7.5 Board
145 Nielsen Clarinet Concerto Samfundet…Dansk Musik 6 x 9 Slight water damage on upper border
146 Nielsen Symphony No.5 Skandinavisk Musikforlag 5.5 x 7.5
147 Nielsen Symphony No.6 Samfundet…Dansk Musik 6 x 8
148 Orff Die Bernauerin [solo tenor, solo soprano, chorus, large orch and large percussion section] B. Schott’s Sohne/Mainz 9 x 12
149 Prokofiev Ala et Lolly (Scythian Suite), Op.20. Boosey and Hawkes 5.5 x 7.5 Board
150 Prokofiev Alexander Nevsky (Cantata for Chorus and Orchestra) Leeds Music Corp. 5.5 x 8.5
151 Prokofiev Cinderella. Suite No.1. Leeds Music Corp. 6 x 9
152 Prokofiev Peter and the Wolf Pro Art Publications 5.5 x 7.5
153 Prokofiev Piano Concerto No.3 Boosey and Hawkes 5.5 x 7.5
154 Prokofiev Romeo and Juliet. Suite No.1. Leeds Music Corp. 5.5 x 8.5
155 Prokofiev Symphony No.3 Boosey and Hawkes 5.5 x 7.5
156 Prokofiev Symphony No.5 Kalmus 7 x 10
157 Prokofiev Violin Concerto No.1 for Violin International Music Co. 5.5 x 7.5 Board
158 Prokofiev Violin Concerto No.2 for Violin Boosey and Hawkes 5.5 x 7.5
159 Rachmaninov Piano Concerto No.3 Boosey and Hawkes 5.5 x 7.5
160 Ravel Daphnis et Chloe Durand and Co. 6 x 8.5
161 Ravel La Valse Durand and Co. 6 x 8.5
162 Ravel Mother Goose (Ma mere l’oye) Suite Durand and Co. 6 x 8.5
163 Ravel Piano Concerto in G Durand and Co. 6 x 8.5
164 Ravel Rapsodie Espagnol Durand and Co. 6 x 8.5
165 Respighi Feste Romane Ricordi 5.5 x 7.5
166 Respighi Fountains of Rome Ricordi 5.5 x 7.5
167 Reynold, R. The Emperor of Ice Cream. (8 voices, pno, perc, cb). Edition Peters 10.5 x 7
168 Reynold, R. Quick are the Mouths of Earth. (ob, 3 lutes, 3 vc, tpt, tbn, btbn, pno, 2 perc). Edition Peters 10.5 x 7
169 Rimsky-Korsakov Capriccio Espagnol Pro Art Publications 5.5 x 7.5
170 Rimsky-Korsakov Scheherezade Kalmus 10 x 13 Pages browned.
171 Rorem, Ned Eleven Studies for Eleven Players Boosey and Hawkes 9 x 12
172 Roussel Le Festin de l’Araignee Durand and Co. 6 x 8.5
173 Schaefer, R. M. Five Studies on Texts by Prudentius for 4 Flutes and Soprano. BMI Canada Ltd. 9 x 12
174 Schoenberg, A. Violin Concerto G. Schirmer 7.5 x 10.5
175 Schubert Symphony No.7 in C major Boosey and Hawkes 5.5 x 7.5
176 Schuller, G. American Triptych. A Study in Textures. For Orchestra. Associated Music Publishers 7 x 10.5
177 Schuller, G. Seven Studies on Themes of Paul Klee. Universal Edition 9 x 12
178 Schuman, W. Credendum (Article of Faith). For Orchestra. Merion Music, Inc. 8 x 11
179 Schumann Piano Concerto in A minor Boosey and Hawkes 5.5 x 7.5 Board
180 Schumann Piano Concerto in A minor Penguin 8 x 5
181 Schumann Piano Trio in A minor, Op.98 Ernst Eulenburg 5.5 x 7.5
182 Schumann Symphony No.1 in Bb major Boosey and Hawkes 5.5 x 7.5 Board
183 Schumann Symphony No.4 in D minor Boosey and Hawkes 5.5 x 7.5 Board
184 Scriabin Le Poeme de l’Extase (Poem of Ecstasy.) Ernst Eulenburg 5.5 x 7.5
185 Shostakovich Symphony No.1 Leeds Music Corp. 5.5 x 8.5
186 Shostakovich Symphony No.5 Kalmus 6 x 9
187 Shostakovich Symphony No.8 Breitkopf and Hartel 5.5 x 7.5
188 Shostakovich Symphony No.9 Leeds Music Corp. 6 x 9 Slight water damage to top border.
189 Shostakovich Symphony No.10 Leeds Music Corp. 6 x 9
190 Shostakovich Symphony No.12 (The Year 1917) State Music Publishers Moscow 5.5 x 8.5 Cardboard
191 Shostakovich Symphony No.15 Hans Sikorski 5.5 x 8
192 Smetana The Moldau (Vltava) Boosey and Hawkes 5.5 x 7.5 Board
193 Stockhausen, K. Nr.5. Zeitmasse. Universal Edition 12 x 9
194 Stockhausen, K. Nr.6. Gruppen fur drei Orchester. Universal Edition 10.5 x 13
195 Strauss, J. Blue Danube Waltz Boosey and Hawkes 5.5 x 7.5
196 Strauss, R. Also Sprach Zarathustra Ernst Eulenburg 5.5 x 7.5
197 Strauss, R. Don Juan Kalmus 9 x 12
198 Strauss, R. Don Quixote Ernst Eulenburg 5.5 x 7.5
199 Strauss, R. Ein Heldenleben International Music Co. 6.5 x 8.5
200 Strauss, R. Sinfonia Domestica Ernst Eulenburg 5.5 x 7.5
201 Strauss, R. Til Eulenspiegel Boosey and Hawkes 5.5 x 7.5 Board
202 Stravinsky Apollon Musagete (Apollo) Boosey and Hawkes 5.5 x 7.5
203 Stravinsky Firebird Suite (1919) Kalmus 9 x 12 Board
204 Stravinsky Les Noces Kalmus 5.5 x 8
205 Stravinsky Renard Kalmus 5.5 x 7
206 Stravinsky Symphony No.1 in Eb Rob, Forberg/Bad Godesberg 5.5 x 7.5
207 Tchaikovsky 1812 Overture Boosey and Hawkes 5.5 x 7.5 Board
208 Tchaikovsky Capriccio Italien Ernst Eulenburg 5.5 x 7.5 Board
209 Tchaikovsky Piano Concerto No.1 Ernst Eulenburg 5.5 x 7.5 Board
210 Tchaikovsky Romeo and Juliet Fantasy Overture Pro Art Publications 5.5 x 7.5
211 Tchaikovsky Symphony No.4 Boosey and Hawkes 5.5 x 7.5 Board
212 Tchaikovsky Symphony No.5 Boosey and Hawkes 5.5 x 7.5 Board
213 Tchaikovsky Violin Concerto Ernst Eulenburg 5.5 x 7.5 Board
214 Varese Ecuatorial. Colfranc Music 7 x 10
215 Varese Hyperprism. Colfranc Music 7 x 10
216 Varese Integrales. Colfranc Music 7 x 10
217 Varese Octandre. Colfranc Music 7 x 10
218 Varese Offrandes. Colfranc Music 7 x 10
219 Verdi Requiem (vocal score) G. Schirmer 7 x 10.5
220 Wagner The Flying Dutchman Ernst Eulenburg 5.5 x 7.5
221 Wagner Lohengrin Overture Heugel and Co. 5.5 x 7.5
222 Wagner Siegfried Idyll Penguin 8 x 5
223 Walton Façade. An Entertainment. With Poems by Edith Sitwell. (complete). Oxford University Press 7 x 10
224 Webern Konzert, Op.24. Philharmonia 5.5 x 7.5
1 Berlioz Romeo and Juliet Edition Peters 5.5 x 7.5
2 Puccini La Boheme (full score) Dover Large
3 Puccini La Boheme (vocal score) G. Ricordi Large
4 Puccini Tosca Dover Large
5 Verdi Aida Dover Large
6 Verdi Otello Dover Large
7 Verdi Il Trovatore (Metropolitan Opera Libretto) Fred Rullman, Inc. Large
8 Verdi La Traviata Dover Large
9 Wagner Tannhauser Dover Large
10 Wagner Tristan und Isolde Dover Large
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Posted by on November 17, 2014 in Composers, Compositions, Unassigned