Eugene Zádor Papers, ca. 1913-1970 PASC.0022.-M

Collection processed by UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé.
UCLA Library Special Collections
Room A1713, Charles E. Young Research Library
Box 951575
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Title: Eugene Zádor music manuscripts
Collection number: PASC 22-M
Contributing Institution: UCLA Library Special Collections
Language of Material: English
Physical Description: 139 boxes (69.5 linear ft.)
Date (inclusive): 1913-1970
Abstract: The collection consists of autographed manuscripts of orchestral works, operas, songs, and chamber music; reel to reel recordings of performances; full scores and parts not necessarily in the composer's own hand; and numerous items of correspondence to and from the composer.
Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information.
Creator: Zador, Eugene

Restrictions on Access

COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information.

Restrictions on Use and Reproduction

Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.

Preferred Citation

[Identification of item], Eugene Zádor music manuscripts (Collection PASC 22-M). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.

Biography

Eugene Zador was born on November 5, 1894, in Bataszek, Hungary. He studied under Richard Heuberger at the Vienna Conservatory (1911) and under Max Reger in Leipzig (1912-14). After completing his doctoral degree at the University of Münster, he returned to Vienna, where he taught at the New Vienna Conservatory through the 1920s. While there, he composed (among other works) a symphony and two operas (both produced by the Budapest Royal Opera). In 1934, he became an honorary professor at the Budapest Academy of Music. Zador was one of many composers with European roots who emigrated to the United States in the 1930s and 1940s, settled in Los Angeles, and made a living in motion pictures while continuing to write music for the concert hall. Unlike Erich Wolfgang Korngold, Franz Waxman, and Miklos Rozsa, however, Zador's original work for films was sparse--and mostly uncredited. Instead, he earned his living in Hollywood as an orchestrator, turning detailed "sketches" by other composers into full orchestral scores. From 1941 to 1963, he worked almost exclusively for Rozsa, who admired his fellow Hungarian's skill so much that he made keeping Zador as his orchestrator a condition of his first contract with M-G-M in 1948. Zador orchestrated over 120 film scores for Hollywood in all. While working as an orchestrator, Zador continued to compose prolifically for the concert hall; and, upon his retirement from that industry in 1963, he devoted himself full-time to composition and never ceased writing music until his death on April 4,1977. His final catalogue comprised numerous works for orchestra, several operas, chamber music, piano pieces, choral works, songs, and various concertos for what he liked to call "underprivileged" instruments--including trombone, cimbalom, double bass, and accordion.

Scope and Content

The collection consists of autograph manuscripts of orchestral works. Includes: Fairy Tale: The remarkable adventures of Henry Bold, On the Banks of the Wabash, Rhapsody for Cimbalom and orchestra, Scherzo for orchestra, Tempest suite, Fugato for orchestra, Piano concerto, Melody and vivo for orchestra, Symphony no.1, Fugue fantasia for orchestra, Prelude and fugue for orchestra. and: 42 autographs comprising 32 autograph letters signed, one typed letter signed, two autograph postcards signed, four Christmas cards with autograph notes signed and two programs honoring the composer on his 80th birthday, with autograph notes signed. Dated 1968-1976, mostly on the composer's letterhead paper from his home in Los Angeles. All to the music critic Robert Breuer of New York. Nearly all in German; an English summary is included. The collection also includes voluminous correspondence from the early forties between Zador and various family members, most especially his parents.

Subjects and Indexing Terms

Zádor, Eugene, 1894-1977--Archives.
Composers--Archival resources.
Music--Manuscripts.
Orchestral music--Scores.

Container List

 

Musical Compositions

Box 3

Aria and Allegro

Scope and Content

Manuscript in pencil.
Box 11

Aria and Allegro

Scope and Content

Revised version. Full score. Two copies.
Box 11

Aria and Allegro

Scope and Content

For strings and brass. Score.
Box 10

Aria and Toccata

Scope and Content

Full score.
Box 33

Autumn Night

Scope and Content

Lyrics by Basil Swift. Piano vocal score (2 copies) + manuscript in pencil.
Box 33

Bagatell

Box 33

Bagatellen in Jazz (for piano)

Scope and Content

Photocopy and published score.
Box 13

Bee, The

Scope and Content

By Francois Schubert. Transcribed for orchestra by Eugene Zador. Full score.
Box 3

Brass Quintet

Scope and Content

Manuscript and sketches in pencil.
Box 8

Biblical Tryptich

Scope and Content

Dedicated to Thomas Mann. In three movements for Grand Orchestra. Orchestral score manuscript.
Box 33

Bitte 1919

Scope and Content

Manuscript score in ink.
Box 9

Cain

Scope and Content

In remembrance of Rupert Hughes. Melodrama for Baritone and orchestra. Poem by Rupert Hughes. Full score. Two copies.
Box 27

Cain

Scope and Content

Parts and sketches.
Box 28

Cain

Scope and Content

Score manuscript, piano sketches, text, sketches.
Box 7

Christopher Columbus (the Discovery of America)

Scope and Content

Opera in one act. Libretto by Archduke Joseph Franz and Eugene Mohacsi. English translation by Josepha Chekova. Full score manuscript.
Box 6

Christopher Columbus

Scope and Content

Full manuscript score.
Box 38

Christopher Columbus

Scope and Content

Vocal score. (3 copies)
Box 39

Christopher Columbus

Scope and Content

Several copies of vocal scores (photocopies).
Box 40

Christopher Columbus 1937

Scope and Content

Manuscripts.
Box 8

Csardas Rhapsody

Scope and Content

Master score.
Box 7

Csardas Rhapsody

Scope and Content

Parts and full score manuscript.
Box 7

Deepening Shadow (song) 1944

creator: Mills Music.
Box 33

Du und Ich

Scope and Content

English lyrics by Josepha Chekova. photocopy score.
Box 33

Einem Kinde

Scope and Content

Lyrics translated into English. 2 copies.
Box 33

Elso Nász

Scope and Content

Edited manuscript in ink.
Box 33

Etude II

Scope and Content

Photocopy.
Box 10

Fantasia Hungarica

Scope and Content

For double bass and orchestra. Pencil manuscript.
Box 6

Festival Overture

Scope and Content

Manuscript organ part and two copies of the orchestral score.
Box 33

Five Songs (for voice and piano)

creator: Music Graphics Press.
Box 43

Forever Rembrandt

Scope and Content

Comic opera in one act.
Includes Universal editions, photographs, libretto, notes, published and bound score.
Box 54

Forever Rembrandt

Scope and Content

Includes: photographs and negatives, notes, orchestral parts, libretto (several copies), UCLA program, clippings.
Box 1, Folder 6

Fugato

Scope and Content

Full score manuscript in pencil.
Box 1, Folder 10

Fugue Fantasia

Scope and Content

Full score manuscript in pencil.
Box 21

Gavotte

Scope and Content

Manuscript score in ink.
Box 21

Gipsy Legend

Scope and Content

Incomplete pencil score manuscript.
Box 13

Gypsy Rondo

Scope and Content

By Joseph Haydn. Transcribed for orchestra by Eugene Zador. Full score. Two copies.
Box 31

Hora Staccato

Scope and Content

Orchestral parts, pencil manuscripts.
Box 11

Hungarian Caprice

Scope and Content

Loose pencil sketches.
Box 41

Hungarian Fantasy

Scope and Content

Manuscripts.
Box 10

Hungarian Scherzo

Scope and Content

Full score.
Box 32

Hungarian Scherzo

Scope and Content

Parts (photocopies)
Box 31

In Memoriam

Scope and Content

Orchestral parts. Full score, pencil sketches.
Box 19

Inspector General

Scope and Content

Pencil sketches.
Box 25, Box 26

Inspector General

Scope and Content

Piano score.. Two copies.
Box 23, Box 8

Judgement

Scope and Content

For 2 soli, women's chorus, brass and percussion. Score and orchestral parts. Lyrics by Patrick Mahoney.
Box 14

Jugendwerke

Scope and Content

Manuscript in ink.
Box 8

Kontrapunkt 1913

Scope and Content

Manuscript in ink.
Box 33

Lonely Wayfarer (song cycle) 1944

creator: Mills Music.

Scope and Content

Piano vocal score (copies) and typed lyrics. Lyrics by Henriette Martin.
Box 10

Lullaby

Scope and Content

Sketch in ink.
Box 33

Lullaby

Scope and Content

Manuscript in pen. St. Peter's Church, Chicago, IL. concert program.
Box 33

Lullaby

Scope and Content

On item, "For Master Thomas Tuckwell." For horn and piano.
Box 33

Lullaby to Peter

Scope and Content

Annotated piano vocal score.
Box 43

Magic Chair

Scope and Content

piano score.
Box 12

Maschinenmensch

Scope and Content

By Ernst Delsey and Eugene Zador.
Full score.
Box 1, Folder 8

Melody and Vivo for Orchestra

Scope and Content

Full score manuscript in pencil.
Box 17

Music for Clarinet and Strings

Scope and Content

Clarinet and piano parts and full score (2 copies).
Box 18

Music for Clarinet and Strings

Scope and Content

Published full scores (4 copies), and piano scores (4 copies).
Box 16

Music for Clarinet and Strings

Scope and Content

Parts.
Box 17

Music for Clarinet and Strings

Scope and Content

Pencil sketches and manuscript.
Box 33

Night Rain

Scope and Content

Lyrics by Henriette Austin. Pencil manuscript.
Box 1, Folder 2

On the Banks of the Wabash Variations

Scope and Content

Manuscript in pencil.
Box 1, Folder 7

Piano Concerto

Scope and Content

Piano score manuscript in pencil.
Box 32

Piano Quintet

Scope and Content

Full score.
Box 1, Folder 11

Prelude and Fugue

Scope and Content

Piano score manuscript in pencil.
Box 13

Prelude and Fugue in F Minor (s. 534)

Scope and Content

Composed by Johann Sebastian Bach. Transcribed by Eugene Zador. Full score.
Box 14

Rhapsody

Scope and Content

Full score (2 copies).
Box 1, Folder 1

Remarkable Adventures of Henry Bold, Who Travelled the World, and Caught a Cold

Scope and Content

Text by Basil Swift. Manuscript in pencil.
Box 10

Remarkable Adventures of Henry Bold

Scope and Content

Who Travelled the World ... and Caught a Cold. Text by Basil Swift. Includes program note. Published by Mills Music, Inc.
Box 10

Remarkable Adventures of Henry Bold

Scope and Content

Original full score manuscript.
Box 31

Remarkable Adventures of Henry Bold

Scope and Content

Includes: notes, copy of piano score and two copies of the piano score.
Box 1, Folder 3

Rhapsody for Cimbalom and Orchestra

Scope and Content

Piano manuscript score in pencil.
Box 15

Rhapsody for Orchestra 1962

Scope and Content

Edition Eulenburg. Full score (2 copies).
Box 14

Rhapsodie for Large Orchestra 1931

Scope and Content

Full score.
Box 33

Románc

Scope and Content

For cello and piano.
Box 14

Rondo for Orchestra 1934

Scope and Content

Universal Edition. Full score.
Box 19

Scarlet Mill

Scope and Content

Pencil sketches.
Box 21

Scherzo fur Klavier

Scope and Content

Manuscript score in ink.
Box 1, Folder 4

Scherzo for Orchestra

Scope and Content

Full score manuscript in pencil.
Box 15

Scherzo for Orchestra

Scope and Content

Master piano score and parts.
Box 14

Scherzo for Orchestra

Scope and Content

Manuscript piano score sketch and full score (2 copies).
Box 36

Scherzo for Orchestra

Scope and Content

Pencil sketches
Box 21

Scherzo Romantic

Scope and Content

Pencil manuscript score.
Box 33

September 1922

Scope and Content

Piano vocal score.
Box 33

Serenade (ostinato for violoncello and pianoforte)

Scope and Content

Manuscript in ink.
Box 21

Serenade in the Masquerade

Scope and Content

Manuscript score in pencil.
Box 33

Sheherd Song (for Oboe)

Scope and Content

Manuscript in ink.
Box 33

Silence 1976

creator: Music Graphics Press.

Scope and Content

Published score and manuscript.
Box 33

Silence

Scope and Content

Lyrics by Willard Hyatt.
Bound with The Song of the Nymph Called Echo.
Box 33

Solace of Night

Scope and Content

Pencil manuscript. English text by Henry Reese.
Box 33

Song of the Nymph Called Echo

Box 33

Song to a Friend

Scope and Content

Lyrics by Anna Egyud. Piano vocal score.
Box 33

Song to the Memory of an Angel

Scope and Content

Piano vocal score (2 copies) and pencil manuscript.
Box 21

Sonnet (a musical monologue for soprano)

Scope and Content

Lyrics and pencil piano manuscript score.
Box 41

Studies for Orchestra

Scope and Content

Manuscript sketches.
Box 33

Stürmische Nacht

Scope and Content

Lyrics translated into English. Three copies.
Box 41

Suite for Woodwind Quintet

Scope and Content

Manuscript sketches.
Box 41

Swanee River Variations

Scope and Content

Manuscript sketches.
Box 1, Folder 9

Symphony No. 1

Scope and Content

Full score manuscript in pencil.
Box 29

Tarantella

Scope and Content

Orchestral parts manuscripts
Box 5

Tarantella - Scherzo

Scope and Content

Manuscripts in pencil and ink, plus two bound manuscripts.
Box 30

Tarantella - Scherzo

Scope and Content

Orchestral parts (incomplete set)
Box 1, Folder 5

Tempest Suite

Scope and Content

Full score manuscript in pencil.
Box 21

Two Etudes

Scope and Content

Dedicated to George Cziffra. Manuscript score in pencil.
Box 33

Two Etudes

Scope and Content

Edited and cut up onion skins.
Box 34

Virgin and the Fawn (a lyric opera in one act)

Scope and Content

Libretto by Basil Swift. Based on a theme by Lajos Zilahy. Piano score (4 copies)
Box 35

Virgin and the Fawn (a lyric opera in one act)

Scope and Content

Full spiral bound score (four copies).
Box 33

Wellentanzlied

Scope and Content

Piano vocal score.
Box 12

Yehu: a Christmas Legend

Scope and Content

Libretto by Anna Egyud. Full score.
Box 22

X-Mal Rembrandt 1929

Scope and Content

Full Score. On cover: "Partitur."
Box 33

Zwei Kinderlieder

Scope and Content

Annotated piano vocal score.
Box 32

Zwei Unarische Volkslieder

Scope and Content

Orchestral parts.
Box 53

Yehu (a Christmas Story)

creator: Egyud, Anna

Scope and Content

Piano score, choral parts, solo parts.
Opera in one act.
Box 51

Yehu (a Christmas Story)

Scope and Content

Orchestral parts.
Box 52

Yehu (a Christmas Story)

Scope and Content

Includes: libretto with annotations, and three piano scores.
Box 36

Themes (Unidentified)

Scope and Content

Pencil sketches.
Box 33

Unidentified Piano Vocal Score

Box 20, Box 37, Box 21

Unidentified Manuscript Sketches

Box 36, Box 42

Unidentified Sketches

Scope and Content

Unidentified pencil sketches marked, "no good."
Box 37

Unidentified Pencil Sketches

Box 11

Unidentified Score Page

Scope and Content

One unidentified full score page (2 measures) in pencil.
Box 23B, Box 33

Unidentified Scores

Scope and Content

On item cover, "II". [X-Mal Rembrandt, part II?]
Box 24

Unidentified Score (incomplete)

 

Autographs

Box 2, Folder 2

1 leaf; autograph letter signed; 5" x 8". January 15, 1969

Scope and Content Note

Zador envies Breur his facility with languages. Finds composing mere child's play but writing and speaking very hard work. Has two commissions, one for Concerto for Bass, the other for Rhapsody for Cymbalon. Still nothing definitive about the "Scarlet Mill." Wupperthal hesitates after the failure with "Visitation." Would love finding an efficient agent in Germany.
Box 2, Folder 3

1 leaf; autograph letter signed; 8 1/2" x 11". February 12, 1969

Scope and Content Note

Zador acknowledges receiving reviews in the Vienna Volksblatt. Deplores that in Vienna opera choices are made by the Ministry For Cultural Affairs. Is frustrated by the sporadic availability of "Aufbau." Includes copy of his biography, announces New York visit in April, is sorry that the piece ("Aria and Allegro") is so short.
Box 2, Folder 4

1 leaf; autograph letter signed; 5" x 8". March 15, (1969)

Scope and Content Note

Sounds worried about the performance on April 15 at Philharmonic Hall: are critics expecting an atonal sensation (in which case they will pan it)? Sends positive review from recent performance of the piece elsewhere to forestall criticism. Recuperating from prostate operation.
Box 2, Folder 5

1 leaf; autograph letter signed; 8 1/2" x 11". March 27, 1969

Scope and Content Note

Appreciates Breuer's articles in Aufbau more than all music Publications in the US combined. Recuperating from operation. Chats about daughter Peggy, student with Balanchine in N.Y. "Rote Mühle" to be performed in Essen. Musical Director Schuhmacher was enthused about it - nothing, however, is happening with the piece in the US. All conductors love it, but when it comes down to it, will put "La Traviata" on the program.
Box 2, Folder 6

1 leaf; autograph letter signed; 8 1/2" x 11". April 29, 1969

Scope and Content Note

Thanking for positive remarks about "Aria and Allegro." The Saratoga Springs Concerts will open with his piece, and a Viennese conductor living in L.A. read about it in "Aufbau" and wants to schedule it for next season.
Box 2, Folder 7

2 leaves; autograph letter signed; 5" x 8". July 31, 1969

Scope and Content Note

Daughter about to get married and move to Heidelberg. Expressing interest in Breuer article about works having to do with moon and stars. Convinced that "Moon River" has brought in more royalties than any other music ever published. Is working on a "Rhapsody for Cimbalon and Orchestra." Says he loves writing for, what he calls, underprivileged instruments. Did a trombone concerto two years ago and a Concerto for Bass last year - might tackle a piece for recorder, krummhorn and sackbutt next (inspired by one of Breuer's articles). "Rote Mühle" is moving slowly; no contract yet from Essen.
Box 2, Folder 8

1 leaf; autograph letter signed; 8 1/2" x 11". January 18, 1970

Scope and Content Note

Sending Breuer a book, on the "thermophiliac" idea of the old Jews, an idea that later forms the basis for Schönberg's "Warsaw Cantata." Claims to have no talent for oratoria himself, but that the book might interest Copland, Siegmeister, Weissgall or even Bernstein.
Box 2, Folder 9

1 leaf; autograph letter signed; 8 1/2" x 11". March 12, 1970

Scope and Content Note

Sending David Ewen's (?) book "Composers since 1900," in which Breuer is quoted on p.501.
Box 2, Folder 10

1 leaf; autograph letter signed; 8 1/2" x 11". May 10, 1970

Scope and Content Note

Felt that Breuer was communicating directly with him in his review of "The Rake's Progress" since he feels partly to blame for the conception of the piece. He'd given Stravinsky the 40-line paper sixteen or seventeen years ago when they met at a friend's place in L.A. Describes his "Studies for Orchestra" which he finished two months ago: it consists of eight short pieces, 23 minutes in all, to which he brings his entire musical experience, all the tonal coloration and harmonic combinations; does not want to write atonally. Seeks progressive instrumentation, hence the title "Orchestra Studies" (sic) which allows him a few provocative passages. Is annoyed with Stokowski who, having had great success with Zador's "Ungarische Capricis" in Hollywood Bowl, asked for the score of his new piece, for a premiere, which he received and then totally ignored. "Senility entitles no one to waste someone else's season." Asks Breuer to find him an agent in N.Y. who could bring him closer to Maazel, Bernstein and Schipper. Feels L.A. is an island on which he is stranded.
Box 2, Folder 11

1 leaf; autograph letter signed; 8 1/2" x 11". September 7, 1970

Scope and Content Note

Sends book by Sergeant. Is amazed that a man who describes his neurotic past in such exhibitionist fashion can actually write such healthy, normal-sounding reviews. Will be going to Detroit for Ehrling's premiere of his "Orchestra Studies" in November.
Box 2, Folder 12

1 leaf; autograph postcard signed; 6" x 4". November 4, 1970

Scope and Content Note

Happy with reception of "Orchestra Studies" at its premiere: four curtain calls, endless applause.
Box 2, Folder 13

1 leaf; autograph letter signed; 5" x 8". December 1, (1970)

Scope and Content Note

Sending review of Detroit performance. Ehrling is planning to take it on tour.
Box 2, Folder 14

1 leaf; autograph letter signed; 5" x 8". February 11, 1971

Scope and Content Note

Thanking Breuer for a poem. Rediscovered in a German encyclopedia that he had composed an adaptation from Gogol's "Revisor" forty-two years ago, which he had totally forgotten about. Handed it to a conductor in search of a score. The premiere is scheduled in three to four months!
Box 2, Folder 15

1 leaf; autograph letter signed; 8 1/2" x 11". May 13, (1971)

Scope and Content Note

Enjoyed Breuer's article on Stravinsky Memorial Celebration. In general appreciates Breuer's harshness on "blasphemy" in concert music. Mass exodus in concerts of that kind was so large that they finally had to be cancelled. Fears Stockhausen and his ilk have discredited contemporary music. Frustrated with conductors' off-handed way of dealing with scores. Announces June 11 premiere of his 1928 piece "The Inspector General" (Gogol's "Revisor"). Is happy to have highly talented students performing it.
Box 2, Folder 16

1 leaf; autograph letter signed; 8 1/2" x 11". May 19, (1971)

Scope and Content Note

Describes El Camino College with its beautiful auditorium. The Beach Cities Orchestra will premiere the piece. ("Revisor"?)
Box 2, Folder 17

1 leaf; autograph letter signed; 8 1/2" x 11". June 4, 1971

Scope and Content Note

Knew that Werner Egk had done an orchestration for the "revisor" also, but is unfamiliar with the other two that Breuer came up with. Is amazed that the conductor can pull together this performance for a choir of thirty-five plus sixty-five musicians, without the help of Ford Foundation or Arts Commission grants. Since the piece was written in 1928, and not finished until 1935, no electronics, tapes or synthesizers appear in the score.
Box 2, Folder 18

1 leaf; autograph letter signed; 8 1/2" x 11". October 28, 1971

Scope and Content Note

Satisfied with two opera performances, but disappointed that his "Studies for Orchestra," after twenty performances on the West Coast, still had not made it to N.Y., "where it really belongs." It used to be you would just send the conductor the score, later it was tape, today you need an aunt or uncle on board. His "Columbus" opera was performed in L.A. after thirty-two years.
Box 2, Folder 19

1 leaf; autograph letter signed; 8 1/2" x 11". April 21, 1972

Scope and Content Note

Interested in Breuer's articles about the Milwaukee Orchestra, Lorin Maazel, and Messiaen. Ormandy asked him once when he was gong to write his "Daphnis and Chloe." He thinks he may have written a modern version of it with his "Orchestra Studies." Maybe if it were electronic music would he fare better with it in N.Y.?
Box 2, Folder 20

2 leaves; autograph letter signed; 5" x 8". November 12, 1972

Scope and Content Note

After two years, twenty-six concerts in the West, still no recognition of "Orchestra Studies" in the East, even though his publishers are there. Announcing switch to chamber music for which you don't need a publisher's help since groups and universities are always looking for new pieces. Ormandy's brother Martin is performing his "Duo Fantasy for Two Cellos and Strings" on November 28 at Hunter College.
Box 2, Folder 21

1 leaf; autograph postcard signed; 5 1/2" x 3 1/2". March 14, 1973

Scope and Content Note

Tells of "Orchestra Studies" performance by the Denver Symphony. First-rate orchestra and conductor, great reviews.. and N.Y.?
Box 2, Folder 22

1 leaf; autograph letter signed; 8 1/2" x 11". March 28, 1973

Scope and Content Note

Asks Breuer a one-time favor, namely to tell Dohnanyi about "Rote Mühle." Thinks his chances in Germany now are good since everybody is getting tired of Penderecki and Fortner. Has good translation of first act.
Box 2, Folder 23

1 leaf; autograph letter signed; 8 1/2" x 11". April 18, 1973

Scope and Content Note

Finds Arthur Cohn ineffective as agent in N.Y. "Orchestra Studies" will be in Vienna, Stuttgart and Hamburg next year.
Box 2, Folder 24

1 leaf; autograph letter signed; 8 1/2" x 11". June 5, 1973

Scope and Content Note

Has received commission from Barry Tuckwell for a horn concerto. Somebody told him, that's just like Paganini writing a concerto for violin or Liszt writing one for piano. "Since Dohnanyi has not responded to your letter, he has entered the circle of great conductors; only the little conductors bother to write."
Box 2, Folder 25

1 leaf; autograph letter signed; 8 1/2" x 11". August 19, 1973

Scope and Content Note

Happy about word from Frankfurt, sending score to Dohnanyi.
Box 2, Folder 26

1 leaf; autograph letter signed; 8 1/2" x 11". October 15, 1973

Scope and Content Note

Asks Breuer to deliver score and tape of "Rote Mühle" to Gabor Ötrös (Director, Augsburg State Theater) who has an engagement at the Met and is apparently eager to see the score. "Rote Mühle" is about to be performed at UCLA. (Dohnanyi is very unreliable, still has not responded.)
Box 2, Folder 27

4 leaves; Christmas card; 5 1/2" x 8". December 9, 1973

Scope and Content Note

Happy with Breuer's piece on Gabor Ötrös. European fashion still dictates ultra-modern music. Hoping that Ötrös will opt for the "Scarlet Mill." (Dohnanyi plays only Henze, Penderecki and Schönberg operas.)
Box 2, Folder 28

1 leaf; autograph letter signed; 8 1/2" x 11". January 12, 1974

Scope and Content Note

Complains about difficulties of rehearsing "Rote Mühle" at UCLA under such financial strains.
Box 2, Folder 29

1 leaf; autograph letter signed; 5" x 8". 1974

Scope and Content Note

Exhausted by receptions surrounding performances of his opera. Sarcastic about the importance of social get-togethers at the University.
Box 2, Folder 30

4 leaves; autograph letter signed, 5" x 8"; photocopy, 5 3/4" x 9". July 28, 1974

Scope and Content Note

Includes a photocopy of a review of Zador's opera "The Scarlet Mill." Wonders if so many of his works are scheduled because of his 80th birthday. Nostalgic about the eight performances in Germany of his one-act piece "x times Rembrandt." The question of grants is barring "Rote Mühle" from similar success.
Box 2, Folder 31

3 leaves; autograph letter signed; 5" x 8". September 2, 1974

Scope and Content Note

Deplores changes in the finances in the art world. Lists, as requested, his recent works: 1. Piece for clarinet and Strings 2. Duo Fantasy for two cellos and orchestra 3. Quintet for brass 4. Quintet for woodwinds 5. Trombone Concerto 6. Horn Concerto 7. Bass Concerto 8. Accordion Concerto His oratorio "The Judgement (of Solomon)" was premiered in May. He is working on another biblical story, Cain.
Box 2, Folder 32

4 leaves; program with autograph letter signed; 5 1/2" x 8 1/2". November 21, 1974

Scope and Content Note

Program bears a portrait of Zador. Program entitled, "A public concert with Eugene Zador." "A musical tribute on the occasion of the composer's 80th birthday" (p.3). Preparations for concerts were taxing, had to do instrumentation for songs and rehearse all sections. Wrote the accordion concerto because there was absolutely no literature for it. Was delighted to have had to turn away 500 people at the door.
Box 2, Folder 33

2 leaves; autograph letter signed; 6" x 9". May 10, 1975

Scope and Content Note

Has become a grandfather, writes lullabies, but is also working on symphonic pieces and on an opera. L.A. will open its bicentennial celebration with his "Christopher Columbus." Is delighted that his mini-opera "Yehu," written in November, has been picked up by ten ensembles.
Box 2, Folder 34

1 leaf; autograph letter signed; 8 1/2" x 11". June 23, 1976

Scope and Content Note

Wonders why Ormandy, Szell, Dorati are the only Hungarian conductors that come in for praise. Finds Laszlo Halasz, founder of City Opera, at least as deserving.
Box 2, Folder 35

1 leaf; typed letter signed; 8 1/2" x 11". September 29, 1976

Scope and Content Note

Sending record of his oratorio "Christopher Columbus, "..which was recorded with a Ford Foundation grant by the American Symphony Orchestra (Laszlo Halasz conducting) and released commercially by Orion Master Records." Lionel Barrymore had read the narration. Puzzled that more works weren't written for "the discover of our country;" hopes it will get radio play on Columbus Day.
Box 2, Folder 36

1 leaf; autograph letter signed; 5" x 8". February 26

Scope and Content Note

Expecting a visit by Fiedelind Wagner.
Box 2, Folder 37

1 leaf; autograph letter signed; 8 1/2" x 11". November 9

Scope and Content Note

Has received two requests by universities, would prefer German houses since he feels they have a greater appreciation of creative librettos.
Box 2, Folder 38

4 leaves; Christmas card; 5 1/2" x 7 3/4". December 8

Scope and Content Note

Sending Christmas greetings.
Box 2, Folder 39

4 leaves; Christmas card; 5 1/2" x 7".

Scope and Content Note

(n.d.) Zador is grateful for fabulous review of "Kolumbus."
Box 2, Folder 40

4 leaves; Christmas card; 5 1/2" x 7".

Scope and Content Note

(n.d.)
Box 2, Folder 41

1 leaf; program with autograph note signed; 6 1/2" x 8 1/2". 1973

Scope and Content Note

Program announces upcoming Zador performances in 1974 and early 1975.
Box 2, Folder 42

1 leaf; autograph note signed; 5" x 8".

Scope and Content Note

(n.d.) "You are an angel!"
Box 126, Folder 1

1 leaf; autograph letter signed; 5" x 8". November 22, 1968

Scope and Content Note

Zador expresses gratitude for reviews. "Since most opera conductors are European, they still prefer to read German." Is corresponding with Wuppertal and Herbert Graf (Geneva) about "Rote Mühle", asks for an introduction to Maazel (Berlin). Only Popper and Strickland have expressed any interest in the US, but everything hinges upon grants.
 

Papers

Box 3

Viennese Culture Club Invitation 1975 November 11

 

Clippings

Box 24

Clippings