Guide to the Remi Gassmann Papers
MS.P.004
Finding aid prepared by Marisa Tolosa
Special Collections and Archives, University of California, Irvine Libraries
The UCI Libraries
P.O. Box 19557
University of California, Irvine
Irvine, California, 92623-9557
949-824-3947
spcoll@uci.edu
© 2010
Title: Remi Gassmann papers
Identifier/Call Number: MS.P.004
Contributing Institution:
Special Collections and Archives, University of California, Irvine Libraries
Language of Material:
English
Physical Description:
24.1 linear feet
(44 boxes and 1 oversized folder)
Date (bulk): Bulk, 1930-1980
Date (inclusive): 1892-1985
Language of Collection Materials: The collection is in English, German, and French.
Abstract: This collection comprises the papers of Remi Gassmann, composer, critic, conductor, pianist and educator. The collection documents
all phases of Gassmann’s career, including his youth in Kansas, musical education in the United States, studies during the
1930s under Paul Hindemith at the Hochschule fur Musik in Berlin, work as music editor and critic for
The Chicago Daily Times during the 1940s, his direction of the University of Chicago’s Program for Composers Seminars from 1941-1947, and his lifelong
work in music composition.
Creator:
Gassmann, Remi
Access
The collection is open for research.
Publication Rights
Property rights reside with the University of California. Literary rights are retained by the creators of the records and
their heirs. For persmissions to reproduce or to publish, please contact the Head of Special Collections and Archives.
Preferred Citation
Remi Gassmann papers. MS-P004. Special Collections and Archives, The UC Irvine Libraries, Irvine, California. Date accessed.
For the benefit of current and future researchers, please cite any additional information about sources consulted in this
collection, including permanent URLs, item or folder descriptions, and box/folder locations.
Acquisition Information
Donated in 1995.
Processing History
Processed by Marisa Tolosa, 2010.
Biography
Remigius Oswalt Gassmann was an American avant garde composer and pioneer in electronic sound and music. Classically trained
under Paul Hindemith in composition and theory, Gassmann collaborated with choreographer Tatjana Gsovsky and premiered
Paean (1960), one of the first ballets set to electronic music. Later, along with partner Oskar Sala and the innovative electronic
instrument the Mixtur-trautonium, Gassmann composed and produced the soundtrack for Alfred Hitchcock's film
The Birds (1963).
Gassmann was born to Russian-German parents December 30, 1908. He began musical studies at the age of five with Remy Den Haerynck
at St. Mary's Academy in Kansas. Gassmann began composing music at age ten and presented a recital at age 15, after which
he decided to postpone his music education. In 1924 at the age of 16, Gassmann was the youngest person to receive a Teacher’s
Certificate from St. Benedict’s College in Atchison, Kansas. In 1930 he graduated cum laude from St. Mary’s College, where
he earned a Bachelor of Arts in Philosophy and received numerous poetry and debating prizes, and acclaim for his role as editor
of the
The Dial. He accepted a scholarship for composition at the University of Rochester’s Eastman School of Music, New York, where he received
the degree of Master of Music in 1931. Unsatisfied with his musical education, Gassmann travelled to Europe and spent 6 years
as student to Paul Hindemith at the Hochschule für Musik, Berlin, Germany. During that time the Nazis proclaimed Hindemith's
music “untragbar” and due to the Hindemith-Furtwängler case, Gassmann took over Hindemith’s classes as unofficial assistant.
In 1937 he married Marthe Loyson, MD. Meanwhile he continued to study piano with Isidor Phillip and taught briefly in Paris.
In 1939 he returned to the United States where the conductor Fredrick Stock appointed him professor of theory in the classes
of the Chicago Symphony. In 1940 Stock commissioned his
Symphonic Overture in G for the 50th Jubilee season. In 1941 he was appointed assistant professor of Music at the University of Chicago, and in 1942
he founded and directed the Composers' Concerts and the Composers' Concerts and Seminar at the University of Chicago. Within
this framework he was able to bring composers such as Stravinsky, Hindemith, Milhaud, Bartol, and Schoenberg, to the university
for lectures and concerts as World War II cut them off from European resources. In 1944 Gassmann was appointed director of
the School of Music, Elmhurst College, Illinois. Gassmann was concurrently music editor and critic at
The Chicago Times from 1940 until 1947. He was also the Executive Director of the Speakers Bureau of the Chicago Civic Opera Company in 1945.
That year collectively with Ruth Page as choreographer and the Ballet Russe de Monte Carlo, Gassmann premiered the ballet-drama
Billy Sunday or Giving the Devil His Due. Between 1947 and 1948, Gassmann organized concerts of American composers in France and Germany.
Gassmann's chamber music and orchestral works have been performed internationally. In the field of electronic music his works
have established him in the forefront of the avant-garde: the historic sonic innovations for
Paean, produced by the Städische Opera, Berlin, and for
Electronics (1961), by The New York City Ballet with choreography by George Balanchine, were hailed by
The New York Times as “Definitely works of art…” and
The London Times announced, quoting composer Aaron Copland, “The future is here…we are going to have a new kind of music." In 1961 Gassman
lectured on electronic sound at both the University of California, Los Angeles and Stanford University. His contribution to
the Alfred Hitchcock film
The Birds, which opened the 1963 Cannes Film Festival, remains a unique example of a completely electronic sound track.
Gassmann moved to France with his wife Marthe. There he wrote
Ave Argentoratum for concert band and chorus. It was performed during the 1976 American Bicentennial celebrations in Strasbourg.
Other works of his include
Hic Ornatus Mundi,
Cantata to a poem by Archibald MacLeish,
Love Lyrics From Whitman, for soprano and chamber orchestra, and
Calamus, for baritone and orchestra. Gassmann devoted his later work almost exclusively to research and the development of electronic
sound.
Gassmann died March 2, 1982, in Strasbourg, France.
Collection Scope and Content Summary
This collection comprises notes, correspondence, music compositions, manuscripts, photographs, sound recordings, and printed
ephemera created during the life and career of composer, conductor, pianist, critic and educator, Remi Gassmann (1908-1982).
The collection documents all phases of Gassmann’s career, including his youth in Kansas, musical education in the United States,
studies during the 1930s under Paul Hindemith at the Hochschule fur Musik in Berlin, work as music editor and critic for
The Chicago Daily Times during the 1940s, direction of the University of Chicago’s program for composers seminars from 1941-1947, collaborative efforts
with Oskar Sala for Alfred Hitchcock's
The Birds, and his nationally acclaimed orchestral scores for the ballets
Billy Sunday or Giving the Devil His Due and
Electronics.
Collection Arrangement
This collection is arranged in 8 series:
- Series 1. Musical compositions, 1917-1970, 2.6 linear feet
- Series 2. Correspondence, 1919-1989, 2.0 linear feet
- Series 3. Writings, 1929-1980, 2.0 linear feet
- Series 4. Visual materials, circa 1800-1980, 3.8 linear feet
- Series 5. Audio recordings, 1950-1981, 4.2 linear feet
- Series 6. Clippings, ephemera, and production notes, 1925-1972, 4.3 linear feet
- Series 7. Personal and family papers, circa 1831-1979, 2.2 linear feet
- Series 8. Works by others, 1919-1946, 3.0 linear feet
Separation Note
Multiple books were separated and added to the UC Irvine Libraries holdings. A listing of the books is available in Special
Collections and Archives.
Subjects and Indexing Terms
Gassmann, Remi -- Archives
Composers
Electronic composition -- 20th century
Electronic music -- United States -- 20th century -- Archives
Ephemera
Music -- United States -- 20th century -- Archives
Musical works
Photographic prints -- 20th century.
Postcards -- 20th century.
Scores
Sound recordings
Musical compositions Series 1.
1917-1970
Physical Description:
2.6 Linear feet
(13 boxes)
Series Arrangement
This collection is arranged in 14 subseries alphabetically by title or type of composition.
Series Scope and Content Summary
Many drafts, compilations, edits and revisions make up this series. The progression of Gassmann's style and abilities can
be explored through his many musical composition books spanning both his educational and professional development. Gassmann's
meticulously hand-notated scores include instrumentations and musical ensembles (orchestration). The series also includes
publicity files, programs and production notes, and lectures and studies on instrumentation. Original sound recordings in
this series, including recordings of music for
The Birds, music from the New York World's Fair and two works inspired by the poet Walt Whitman, are located in series 5.
Box 1, Folder 1-6
Ave Argentoratum
Subseries 1.1.
1976
Box 11, Folder 7-9
Balanchinade
Subseries 1.2.
1958-1959
Billy Sunday,
Subseries 1.3.
1945-1949
Scope and Content Summary
Gassmann wrote the music for the ballet
Billy Sunday or Giving the Devil His Due, which was premiered by the Ballet Russe de Monte Carlo. Includes handwritten draft scores and bound full scores as well
as individual pieces from the ballet including:
Fanfare and March,
March of the Wise Virgins,
Swinging the Bat of Righteousness.
Box 9, Folder 2-3, Box 3, Folder 1-4, Box 5, Box 8, Folder 2-4
Billy Sunday or Giving the Devil His Due complete scores,
1945-1949
Box 9, Folder 4-9, Box 8, Folder 1
Billy Sunday or Giving the Devil His Due individual episodes and drafts,
1945-1949
Box 9, Folder 1
Air and Dance from
Billy Sunday score for Flute and Piano,
1949
Brave New World
Subseries 1.4.
1947-1964
Box 2, Folder 4
Cantata for Baritone, Clarinet, Harp and Piano,
1947
Box 2, Folder 3
Cantata for Baritone, Clarinet, Cello, Harp and Piano,
1947
Box 2, Folder 1, Box 2, Folder 5-6
Cantata Hic Ornatus Mundi (Brave New World),
1964
Concerto
Subseries 1.5.
1935-1950
Box 15, Folder 1
Piano and Orchestra,
undated
Box 11, Folder 1-2, 6
Drafts Subseries 1.6.
1936-1948
Other compositions Subseries 1.7.
1917-1969
Box 6, Folder 6-8
Arias from Calamus:
I Hear It Was Charged Against Me and
The Prairie Grass Dividing
1940
Box 13, Folder 12
Christmas Carols for Saxophone and Piano,
1935
Box 13, Folder 18
Early compositions and drafts,
1917-1929
Box 13, Folder 11
Hungarian Melody, score and parts,
1940
Box 13, Folder 7
Love Having Many Names,
1953
Box 13, Folder 14
Picnic March for Three Clarinets in Bb,
1934
Box 13, Folder 5-6
Robertson Rondos,
1956-1957
Box 13, Folder 8
Serenade for Jussi Bjoerling,
1945-1947
Box 6, Folder 9
Scherzo from Octet Opus 20,
1940
Box 13, Folder 15-16
Trio for Flute, Oboe and Clarinet, score and parts,
1933
Box 13, Folder 13
Two Drinking Songs for Piano and Baritone,
1933
Box 6, Folder 5
Two Songs As Sung To A Child, for voice and piano,
1949
Box 13, Folder 1
Tweet, Chirp, Bill N Coo,
undated
Box 12, Folder 1-9
Electronics (Paean), drafts and movements
Subseries 1.8.
1961
Scope and Content Summary
Electronics was produced in Europe under the title
Paean. Includes Dramaturgic drafts, Trautonium parts, sequenced and unsequenced movements.
Box 26, Folder 1-12
Music lesson books Subseries 1.9.
1925-1953
Scope and Content Summary
From Gassmann's studies at the Eastman School of Music 1930-1931 and Hochschule Fur Musik 1931-1932.
Sonata
Subseries 1.10.
1934-1949
Box 10, Folder 5
Arranged for Two Pianos,
1944
Scope and Content Summary
W.A. Mozart
Sonata, originally for piano in four hands, arranged for two pianos by Remi Gassmann.
Box 10, Folder 9-11
Violoncello and Piano,
1936
Box 10, Folder 8
Violoncello and Piano, Paris edition,
1936
Box 11, Folder 3-5, Box 6, Folder 10
Symphonic Overture G, sketches, drafts, and score
Subseries 1.11.
1940
Box 10, Folder 1-3
Toccata
Subseries 1.12.
1933-1949
Box 16, Folder 1-3, Box 14, Folder 1-5, Box 6, Folder 11
Compositions inspired by Walt Whitman:
Three Love Lyrics and
Two Whitman Arias
Subseries 1.13.
1933-1947
Correspondence Series 2.
1919-1989
Physical Description:
2.0 Linear feet
(5 boxes)
Language of Collection Materials: The letters are in English and German.
Series Arrangement
This collection is arranged in 3 subseries by type of correspondence.
Series Scope and Content Summary
This series comprises correspondence between Remi Gassmann and various individuals, both personal and professional. A large
amount of correspondence is written between Gassmann and members of his family. Many letters to his sister Anna and father
Peter (Papa) were written on a regimented schedule of two letters per week, spanning 1922-1940.
Professional correspondence documents Gassmann's career: as a student of Hindemith, as the director of the University of Chicago's
Composer's Series and Music Department, and as a writer of both stage and cinematic performance pieces.
Chronological correspondence Subseries 2.1.
1920-1930
Scope and Content Summary
Correspondence in this subseries is organized by year. Notable findings include a 1924 letter wherein Gassmann discusses KKK
threats to St. Mary's College campus and a letter from his sister congratulating him on a successful piano recital. The family
letters reveal great love and concern for Gassmann's well-being. Many letters from 1934 address the controvery surrounding
Hindemith-Furtwangler, and in 1935 there are several mentions of the sand storms plaguing the mid-west. In 1936 Gassmann is
quite careful to not divulge or speak out against Hitler's regime. He hints and advises that he will move out of the Oppenheim
home, the Jewish home he was staying and no longer felt safe in. He also discusses that year's Olympic games, where he relays
the German disappointment that America had won so many medals. In 1937 Remi formally announces to Anna and Papa (Gassmann)
his plans to marry Marthe Loyson.
Letters arranged by name or production Subseries 2.2.
1922-1981
Scope and Content Summary
This subseries is comprised of correspondence between Gassmann and a variety of family members and professional acquaintances.
Included are the business contract and negotiations for
The Birds, interchanges between composers for the Composers' Concert Series at the University of Chicago, and exchanges for projects
such as the New York World's Fair. Correspondence between artists and choreographers like Moholy-Nagy and Ruth Page and one
notable rejection letter dated January 2, 1964, involves the audition of electronic sound compositions for Walt Disney and
exhibitions for the World's Fair.
Box 19, Folder 3
Composers' Concerts
1940-1949
Box 19, Folder 4
Cooke, Jr., Arnold,
1977-1982
Box 19, Folder 5
Copland, Aaron,
1944-1947
Box 19, Folder 6
Denham, Sergei,
1945-1946
Box 19, Folder 10
Emmanuel, Pierre,
1949
Scope and Content Summary
Contains draft manuscript of
Orphee.
Box 19, Folder 11
Fisher, Thomas Hart,
1944-1966
Box 19, Folder 12-19
Gassmann, Anna,
1922-1972
Box 19, Folder 20-22, Box 20, Folder 1-7
Box 21, Folder 1
Gassmann, Leo,
1933-1950
Scope and Content Summary
Includes correspondence from Remi Gassmann to brother Leo and wife Sylvia Gassmann as well as newspaper clippings and performance
programs.
Box 21, Folder 21
Gassmann and Sala collaboration for World's Fair with rejection letter from Walt Disney,
1963-1964
Box 21, Folder 3
Hindemith, Paul,
1936-1953
Scope and Content Summary
Includes photographs, programs, clippings, a musical score, and miscellaneous items involving exchanges between Gassmann and
Hindemith.
Box 21, Folder 5
MacLeish, Archibald,
1947
Box 21, Folder 7
Menotti, Gian Carlo,
1944
Box 21, Folder 8
Milhaud, Darius,
1943-1946
Box 21, Folder 10
Page, Ruth,
1944-1981
Scope and Content Summary
Includes lecture on the ballet
Billy Sunday.
Box 21, Folder 11
Piatigorsky, Gregor,
1943-1949
Box 21, Folder 13
Rossini,
undated
Language of Material:
French
Box 21, Folder 16
Stanford University,
1961
Box 21, Folder 17
Stravinsky, Igor,
1943-1945
Scope and Content Summary
Includes correspondence, telegrams, programs, newspaper clippings,
Time magazine cover page and feature article.
Box 21, Folder 20
Villa-Lobos, Heitor,
1945
Box 17, Folder 1
Postcards Subseries 2.3.
1920-1953
Writings Series 3.
1929-1980
Physical Description:
2.0 Linear feet
(5 boxes)
Series Scope and Content Summary
This series comprises written drafts, manuscripts, and professional publications. Also includes early poems and essays which
won literary prizes as well as his Master's in Music Thesis.
Daily journals were kept by Remi Gassmann during certain intervals and periods of travel and daily life. Eloquent and honest
entries by Remi in his journals reflect upon his upbringing, relations with his siblings, Father, and wife Marthe, and the
tribulations of his health and career. The journals hold clippings of his poetry, short fictional pieces, and oratorical competitions
for his college magazine,
The Dial for which Gassmann was awarded many accolades.
Series Arrangement
This series is arranged alphabetically.
Box 40, Folder 1
Autobiographical sketch,
1940-1970
Box 40, Folder 2
Catalog of works,
circa 1940
Box 40, Folder 3
The Dial,
1929
Scope and Content Summary
Publication edited by Remi Gassmann includes his woodcuts, poetry, and short stories.
Box 40, Folder 5
Ganymede's Mother,
circa 1960-1970
Box 40, Folder 6
Homage to Hindemith,
American Music, and
Music Here and Now,
circa 1944-1945
Box 40, Folder 10
The Metaphysical Basis of Music or aural beauty in its relation to human faculties,
1927
Scope and Content Summary
Title of Thesis submitted for graduation:
The Metaphysical Basis of Music or aural beauty in its relation to human faculties
Box 40, Folder 11
Miscellaneous
1960-1969, undated
Box 40, Folder 12
Plastic Sound and Frozen Symbol,
Explorations, correspondence and notes,
1968
Visual materials Series 4.
circa 1800-1980
Physical Description:
3.8 Linear feet
(7 boxes)
Series Scope and Content Summary
This series comprises several decades of personal photographs, negatives, and microfilm. Included are heirloom photographs,
black and white photography documenting Gassmann's roots in Kansas, travels to Africa and throughout Europe, and professional
images which include portraits of himself, images from rehearsals of theatrical performances and various professional associations
with other musicians and conductors. Additionally, included are negatives for most photographs and a microfilm including images
of a stage set for
The Birds.
Series Arrangement
This series is arranged alphabetically by type.
Folder XOS 001
Blueprints for Strasbourg, France residence,
undated
Box 36, Folder 3-6, Box 30, Folder 1
Career photographs and portraits,
circa 1930-1960
Scope and Content Summary
Contains black and white photographs in Strasbourg, France, of Gassmann composing
Billy Sunday, production photographs of rehearsals for
Billy Sunday and
Electronics. Also includes photographs of Gassmann and Oscar Scala with Tautonium(sp) and Balanchine and Gassmann at rehearsal of
Electonics at City Center, New York. Microfilm of musical scores and set designs are also included.
Box 36, Folder 1-2
Early childhood photographs from Kansas,
circa 1908-1940
Box 36, Folder 7-16
Family and friends: photographs,
1925-1980
Box 33, Folder 1-8
Framed photographs and illustrations,
circa 1900-1960
Scope and Content Summary
Includes images of Gassmann and professional contacts, activities and family members. Also includes eight colored engravings
depicting European towns with Latin and German text.
Box 38, Folder 1-4, Box 30, Folder 2
Heirloom photographs,
circa 1800-1930
Scope and Content Summary
Includes images from both Remi and Marthe Gassmann's extended family.
Box 4, Folder 1-2, Box 4, Folder 11, Box 36, Folder 17-21
Portraits,
circa 1930-1980
Scope and Content Summary
Includes portraits of Remi and Marthe Gassmann, composers and colleagues. Also included are signed prints from Hindemith,
Piatigorsky, and Stravinsky.
Box 37, Folder 9-12
Residences: photographs,
1947-1977
Box 34, Folder 1-2, Box 37, Folder 1-8
Travel: photographs,
1931-1977
Audio recordings Series 5.
1950-1981
Physical Description:
4.2 Linear feet
(8 boxes)
Restrictions on Access
Very few listening copies are available. For access, please contact Special Collections and Archives to request a listening
copy. Fees may apply.
Series Scope and Content Summary
This series contains sound recordings of compositions and lectures. Experimental sounds, improvisational work, and collaborations
with others are included. Some recordings are the actual performances recorded live, while others are studio recordings and
demonstrations.
5 pieces-Sala, original and stereo,
circa 1961
Box 24, Folder 4, Box 44, Item 6-7
Archival original,
General Physical Description note: 2 sound tape reels : 15 inches per second
Access
Access to archival original is restricted; researchers must use listening copy.
Ave Argentoratum,
circa 1976
Ave Argentoratum,
Fanfare and Chorus, Jazz,
Box 24, Folder 1
Archival original,
General Physical Description note: 1 sound tape reel : 7.5 inches per second
Access
Access to archival original is restricted; researchers must use listening copy.
Ave Argentoratum, for concert band,
Box 24, Folder 2
Archival original,
General Physical Description note: 1 sound tape reel : 7.5 inches per second
Access
Access to archival original is restricted; researchers must use listening copy.
Ave Argentoratum, U.S.A.,
Box 24, Folder 3
Archival original,
General Physical Description note: 1 sound tape reel : 7.5 inches per second
Access
Access to archival original is restricted; researchers must use listening copy.
Billy Sunday,
1950
Scope and Content Summary
Billy Sunday (recorded during performance in the pit of the Theatre des Champs Elysees.)
Box 25, Folder 2
Archival original,
General Physical Description note: 1 magnetic sound tape reel : 7.5 inches per second
Access
Access to archival original is restricted; researchers must use listening copy.
The Birds and
Birds Unterlagen,
1963
Box 42, Folder 3, Box 43, Item 2-3,5
Archival original,
1963
General Physical Description note: 3 sound tape reels : 15 inches per second
Access
Access to archival original is restricted; researchers must use listening copy.
Box 42, Folder 2
Listening copy,
1963
General Physical Description note: 1 master sound disc (CD-ROM)(11:25)
Box 42, Folder 1
Master copy,
1963
General Physical Description note: 1 sound disc (CD-ROM)
Access
Access to master copy is restricted; researchers must use listening copy.
Demos, I and II,
1968 April 9
Box 44, Item 3-4, Box 24, Folder 5
Archival originals,
General Physical Description note: (1 plastic reel : 7.5 inches per second; 1 mono sound tape reel : 15 inches per second)
Scope and Content Summary
Also includes corresponding written material on trumpet tones, violin tones, and a pitch quantizing study from Bell Telephone
Laboratories.
Access
Access to archival original is restricted; researchers must use listening copy.
Edward's Homily,
1981 October 5
Box 42, Folder 4
Archival original,
General Physical Description note: 1 sound cassette tape
Access
Access to archival original is restricted; researchers must use listening copy.
Electronics and
Paean,
circa 1961
Box 43, Item 3-6, Box 23, Folder 1-5
Archival originals,
General Physical Description note: 3 sound reels : analog, 7.5 inches per second; 4 tape reel : 15 inches per second; 1 sound reel : 19 cm., 7.5 inches per second;
1 sound tape reel; 1 sound tape reel
Access
Access to archival original is restricted; researchers must use listening copy.
Box 6, Folder 1
Sound disc,
General Physical Description note: 1 sound disc 33 1/3 revolutions per minute
Box 42, Folder 5
Archival original,
General Physical Description note: 1 sound tape reel
Access
Access to archival original is restricted; researchers must use listening copy.
Box 42, Folder 6
Archival original,
General Physical Description note: 1 sound cassette
Access
Access to archival original is restricted; researchers must use listening copy.
Lectures, interviews, broadcasts,
1961
Scope and Content Summary
Includes Bookspaw interview, UCLA lecture on electronic sound, and World of Dance.
Box 25, Folder 1,3, Box 44, Item 6
Archival originals,
General Physical Description note: 1 magnetic sound tape reel : 7.5 inches per second; 1 magnetic sound tape reel : 7.5 inches per second; 1 sound tape reel
: 15 inches per second
Access
Access to archival original is restricted; researchers must use listening copy.
Box 22, Folder 6
Archival original,
General Physical Description note: 1 sound tape reel : 7.5 inches per second
Access
Access to archival original is restricted; researchers must use listening copy.
Box 44, Item 2
Archival original,
General Physical Description note: 1 sound tape reel : 15 inches per second
Access
Access to archival original is restricted; researchers must use listening copy.
Untitled archival originals,
circa 1960-1979
Box 22, Folder 1-5
Archival originals,
General Physical Description note: 5 sound cassettes; 4 sound tape reels : 7.5 inches per second
Access
Access to archival original is restricted; researchers must use listening copy.
World's Fair, New York,
1964
Box 25, Folder 4-6
Archival original,
General Physical Description note: 4 mylar sound reel : 1 1/4in. x 1800ft.
Access
Access to archival original is restricted; researchers must use listening copy.
Box 25, Folder 5
Archival original,
General Physical Description note: 1 sound reel : 1/4" x 1800ft.
Access
Access to archival original is restricted; researchers must use listening copy.
Woodwind Trio,
Cello Sonata,
Brave New World,
circa 1960-1979
Box 23, Folder 6
Archival original,
General Physical Description note: 1 sound tape reel
Access
Access to archival original is restricted; researchers must use listening copy.
Clippings, ephemera, and production notes Series 6.
1925-1972
Physical Description:
4.3 Linear feet
(8 boxes)
Scope and Content Summary
The series is comprised of clippings, scrapbooks, ephemera, and notes about Gassmann's productions. Included are production
notes for
Paean and
The Birds, which include cue sheets for the sound recordings. Also included are programs and collections of press releases, newspaper
clippings, lectures, articles and reviews relating to colleagues, contemporaries, educators, performances, and educational
achievements.
Box 35, Folder 1
Autographs,
1924-1929, undated
Box 39, Folder 1-16
Clippings and production notes,
1933-1977, undated
Box 6, Folder 2, Folder XOS 001, Box 35, Folder 5-16
Performance posters and programs,
1932-1978 and undated
Box 29, Folder 1-2
Berlin Scrapbook of
Paean,
1960-1961
Box 29, Folder 3
Electronics,
1961
Scope and Content Summary
Contains correspondence, clippings, programs, telegrams, advertisements, press releases with attached black and white photographs
and invitations for the first complete radio performance of
Electronics.
Box 32, Folder 1
Elmhurst College,
1944-1945
Box 31, Folder 1-2, Box 27, Folder 1, Box 28, Folder 1-3
Box 27, Folder 2-3
University of Chicago Composers' Concerts,
1943-1946
Personal and family papers Series 7.
circa 1831-1979
Physical Description:
2.2 Linear feet
(4 boxes)
Series Scope and Content Summary
This series contains biographical documentation about Gassmann as well as personal affects. This series also provides a rich
history and documented chronology of Gassmann's family. Anna Gassmann, Remi's sister, wrote historical accounts of the happenings
of the Gassmann children and extended family. She also kept a genealogical account for her family, denoting births, deaths
and entrances into religion. Also many certificates, diplomas, ledgers, and memorabilia, including concert programs and handbills
comprise this series.
Series Arrangement
This series is arranged alphabetically by type of record.
Box 32, Folder 2-4
Annuals,
1926-1930
Scope and Content Summary
Includes collections of Remi's newspaper clippings from reviews of his performances, accomplishments, and his employment as
music critic for
The Chicago Daily Times. Autographs included: Necil Kazim Akses, Nadia Boulanger, Frank Martin, Aaron Copland, and Sidney Silber amongst others.
Box 41, Folder 1-2
Biographical sketches, programs and clippings,
1930-1979
Box 6, Folder 12, Box 41, Folder 3-6
Certificates, diplomas, and other materials,
circa 1903-1969
Box 41, Folder 7-8
Coat of Arms, genealogy, family history,
circa 1935-1945
Historical Background
Genealogy and family history compiled by Anna Gassmann, sister of Remi Gassmann.
Box 6, Folder 3, Box 35, Folder 2-4
Ephemera,
circa 1920-1969
Scope and Content Summary
Includes a personal phonebook and several intricately designed communion announcements, calling cards, and a collection of
blank postcards.
Marthe Loyson Gassmann personal papers,
circa 1853-1976
Scope and Content Summary
Contents include the personal papers of Marthe Loyson-Gassmann, who was married to Remi Gassmann in 1937. Her professional
medical titles include: neuropsychiatrist, psychoanalyst, and psychotherpist. Ms. Gassmann received her MD at the University
of Strasbourg, France and University of Berlin, Germany.
Box 41, Folder 11, 13
Correspondence,
1928-1963
Box 41, Folder 9
Biographical sketch,
1973-1976
Box 41, Folder 10, 12
Certificates, documents and registries,
1853-1943
Language of Material:
German
Scope and Content Summary
Includes academic registration book, graduation poster, professional medical training certificates and correspondence, naturalization
documents and family records which include parents' marriage certificates and family birth certificates.
Box 41, Folder 14
Testimonies book,
1908
Language of Material:
German
Works by others Series 8.
1919-1946
Physical Description:
3.0 Linear feet
(2 boxes)
Series Scope and Content Summary
This series is predominately comprised of musical scores and published musical compositions by other composers. Notable in
this series is the artwork of artist Alexander Calder, or "Sandy", who designed theatrical sets and costumes for the ballet
Billy Sunday or Giving The Devil His Due and Nagy-Moholy who designed set decorations for the University of Chicago Composers Concerts.
Series Arrangement
This series is arranged alphabetically by creator.
Box 4, Folder 10
Barber, S. :
Capricorn Concerto, 3rd movement,
1944
Box 7, Folder 2-9
Calder, Alexander : sketches,
1945
Scope and Content Summary
Includes set designs and sketches of performance costumes by Alexander Calder for the ballet
Billy Sunday. A few large pieces depict Remi Gassmann and are signed "Sandy."
Processing Note
The sketches in this series were removed from their frames and placed into protective sleeves.
Box 4, Folder 7
Copland, Aaron :
Appalachian Spring,
1943-1944
Box 4, Folder 8-9
Hindemith, Paul :
When Lilacs Last in the Dooryard Bloom's (choral portions) and
Suite Nobilissima Visions: Partitur Nr. 8,
1938-1946
Box 4, Folder 5-6
Milhaud, Darius :
Les Malheurs D'orphee, Acts I-III,
1945
Box 7, Folder 1
Nagy-Moholy : set designs and costume sketches,
1944
Scope and Content Summary
Contains 12 sketches by Nagy-Moholy of set designs and costumes for a November 3, 1944 Composers' Concert at the University
of Chicago.
Box 4, Folder 4
Orff, Carl :
Carmina Burana and
Catulli Carmina,
1937-1943
Box 4, Folder 12
Purcell, Henry :
Curtain Tune on a Ground for 1st and 2nd Violin, Viola, Basson, and Piano,
undated
Box 4, Folder 3
Stravinsky, Igor :
Firebird (Suite de l'Oiseau de Feu),
1919