Author: Sargeant, Winthrop (1903-1986). American music critic, violinist & writer.
Title: Typed Letter Signed by the American Music Critic & Violinist Winthrop Sargeant on New Yorker Stationery, Caustically Referencing His Review of the Modern Opera "Lizzie Borden".
Description: New York, April 19, 1965. 1965. - Approximately 137 words typed on 7-1/4 inch high by 4-5/8 inch wide creamy white New Yorker stationery with the periodical's name and logo engraved at the top. In his letter addressed to Richard Plant who wrote the scenario for Jack Beeson's opera "Lizzie Borden" Winthrop Sargeant apologizes for Plant's name not appearing in his review of the opera: "Your name was originally included in my copy. But I am given a specific amount of space each week -- less than three columns -- and at the last minute it became necessary to make cuts." Apparently not a fan of the production, Sargeant continues: "..I can, on reflection, see that the very effective dramatic situations must have originated with you. You ought to give the same scenario to a better composer, and try it all over.." Signed in full "Winthrop Sargeant". Folded for mailing with some minor soiling to the top. Very good. Commissioned by the Ford Foundation, Jack Beeson's opera "Lizzie Borden" premiered on March 25, 1965 at the New York City Opera. With a libretto by Kenward Elmslie after a scenario by Richard Plant, the performance was conducted by Anton Coppola. The American music critic, violinist and author Winthrop Sargeant (1903-1986) studied the violin with Albert Elkus in San Francisco and with Felix Prohaska and Lucien Capet in Europe. The youngest member of the San Francisco Symphony at the age of 18, he went on to become a violinist with the New York Symphony in 1926 and the New York Philharmonic from 1928 to 1930. He changed careers in mid-stride in 1930 to become a journalist, critic and writer. His music criticism was published in "Musical America", "The Brooklyn Daily Eagle", and "The New York American". He was Time Magazine's music editor and a senior writer for Life magazine. He eventually moved on to The New Yorker where he wrote the column "Musical Events" from 1949 to 1972. He authored several books, including "Jazz: Hot and Hybrid", "Geniuses, goddesses, and people", "Listening to Music", "Jazz: A History", "In Spite of Myself" and "Divas". Very good .
Keywords: MUSIC; CRITIC; VIOLINIST; AUTHOR; WRITER; WINTHROP SARGEANT; TYPED LETTER SIGNED; AUTOGRAPH; SIGNATURE; RICHARD PLANT; THE NEW YORKER MAGAZINE; TWENTIETH CENTURY; 20TH CENTURY; CLASSICAL; OPERA; MODERN; LIZZIE BORDEN; JACK BEESON; REVIEW.
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Title: Typed Letter Signed by the American Music Critic & Violinist Winthrop Sargeant on New Yorker Stationery, Caustically Referencing His Review of the Modern Opera "Lizzie Borden".
Description: New York, April 19, 1965. 1965. - Approximately 137 words typed on 7-1/4 inch high by 4-5/8 inch wide creamy white New Yorker stationery with the periodical's name and logo engraved at the top. In his letter addressed to Richard Plant who wrote the scenario for Jack Beeson's opera "Lizzie Borden" Winthrop Sargeant apologizes for Plant's name not appearing in his review of the opera: "Your name was originally included in my copy. But I am given a specific amount of space each week -- less than three columns -- and at the last minute it became necessary to make cuts." Apparently not a fan of the production, Sargeant continues: "..I can, on reflection, see that the very effective dramatic situations must have originated with you. You ought to give the same scenario to a better composer, and try it all over.." Signed in full "Winthrop Sargeant". Folded for mailing with some minor soiling to the top. Very good. Commissioned by the Ford Foundation, Jack Beeson's opera "Lizzie Borden" premiered on March 25, 1965 at the New York City Opera. With a libretto by Kenward Elmslie after a scenario by Richard Plant, the performance was conducted by Anton Coppola. The American music critic, violinist and author Winthrop Sargeant (1903-1986) studied the violin with Albert Elkus in San Francisco and with Felix Prohaska and Lucien Capet in Europe. The youngest member of the San Francisco Symphony at the age of 18, he went on to become a violinist with the New York Symphony in 1926 and the New York Philharmonic from 1928 to 1930. He changed careers in mid-stride in 1930 to become a journalist, critic and writer. His music criticism was published in "Musical America", "The Brooklyn Daily Eagle", and "The New York American". He was Time Magazine's music editor and a senior writer for Life magazine. He eventually moved on to The New Yorker where he wrote the column "Musical Events" from 1949 to 1972. He authored several books, including "Jazz: Hot and Hybrid", "Geniuses, goddesses, and people", "Listening to Music", "Jazz: A History", "In Spite of Myself" and "Divas". Very good .
Keywords: MUSIC; CRITIC; VIOLINIST; AUTHOR; WRITER; WINTHROP SARGEANT; TYPED LETTER SIGNED; AUTOGRAPH; SIGNATURE; RICHARD PLANT; THE NEW YORKER MAGAZINE; TWENTIETH CENTURY; 20TH CENTURY; CLASSICAL; OPERA; MODERN; LIZZIE BORDEN; JACK BEESON; REVIEW.
Price: US$ 65.00 Seller: Blue Mountain Books & Manuscripts, Ltd.
- Book number: 94935
- Book number: 94935
See more books from our catalog: Music