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Born in Cameron, Missouri on June 17, 1912, Don Gillis moved with his family to Texas in 1930. He went on to have some impact on nearly every institution of higher education in the Dallas-Fort Worth area, as well as the University of South Carolina. Gillis studied composition with Don Mixson at Texas Christian University, and then worked as a band director at TCU, a Director of Productions at the WBAP radio station in Fort Worth, a producer for NBC Radio in Chicago, and a producer and script writer for the NBC Symphony Orchestra in New York City, under the direction of Arturo Toscanini.
After the NBC Symphony was disbanded, Gillis played a major role in reconstituting the orchestra as the Symphony of the Air, which participated in a State Department-sponsored tour of Asia. Gillis later served as the vice president of the Interlochen Music Camp in Michigan, and produced the series
Gillis returned to Texas and served as chair of the music department of Southern Methodist University in 1967-68, and as the chair of the arts department and director of instructional media at Dallas Baptist College from 1968 until 1973. In 1973, Gillis took the position of Chair of the Institute of Media Arts at the University of South Carolina, where he remained until his death in 1978.
For a more detailed biography, please visit the article "
This Collection is indexed under the following controlled access subject terms.
Nine boxes received from the University of Georgia on July 13, 2016.
Reproduction and publication of materials in this collection are subject to the policies of the UNT Music Library. Copyright restrictions may apply.
Access to this collection is provided only by special arrangement. Please contact the Music Library for more information.
Collection is housed in the UNT Music Library and in remote storage. Advance notice for use is required. Please contact the Music Library for further information.
This collection is arranged in five series: Series 1: Compositions Series 2: Papers Series 3: Reels and Tape Transcripts Series 4: Toscanini: The Man Behind the Legend; The Centennial Series Series 5: University of Georgia accrual July 2016; Series 6: Addition, 2009. Series 6 was processed after Series 5; therefore, they are out of chronological order.
The collection consists of Don Gillis' compositions and papers, reel-to-reel recordings of many of his compositions and Gillis' discussing his works, and materials related to the series
Gillis' compositions represent his career from the early 1930s through the 1970s, and include sacred, secular, symphonic, and chamber works. His papers include correspondence, papers related to various projects, schedules, reviews, radio scripts, and the Men of Music radio project, teaching materials, writings, additional papers concerning his work, biographical materials, and newspaper clippings.
The reel-to-reel recordings, 50 in all, contain recordings of Gillis' works and Gillis' own description of them. Transcripts are included in Series 3 of the finding aid.
The recordings of
String orchestra. Two copies of score, one copy of each part.
Two copies of narrator/condensed score. All parts present, most with multiple copies.
From Suite No.1 for Woodwind Quintet, The Fable of the Tortoise and the Hare. Mills Music, Inc., New York, NY
Woodwind quintet. One complete set with full score and all parts, photocopies.
697717
Script revisions and notes, with one audition form with cast member names
Orchestra with narrator
Orchestral work. Cello, bass, and viola parts for movements III. Piedmont Park, V. Peach Tree Promenade, and VI. City of Atlanta.
Piano, sketches.
Mills Music, New York, NY. Reprinted by Kalmus, Opa-Locka, FL.
For band. One complete set with conductor score (2 copies) and parts.
Arranged by Richard Ellsasser.
Solo organ, manuscript score.
Arranged by Richard Ellsasser. Interlochen
Solo organ. Forty copies.
Two pages; three copies of first page, two of second page. Copies are poor quality; work may be unfinished.
Piano, solo voice.
From Suite No. 1 for Woodwind Quintet, The Fable of the Tortoise and the Hare. Mills Music, New York, NY
Woodwind quintet. One complete set with full score and all parts, photocopies.
Notes and four complete scripts.
Boosey & Hawkes, New York, NY
Bassoon and piano, two complete sets with bassoon part and piano score.
Text adapted from the Preamble to the Constitution, Declaration of Independence, and Pledge of Allegiance. Neil A. Kjos, Park Ridge, IL
Band with narrator.
Mills Music, New York, NY.
Narrator, mixed voices, piano or organ. One copy of vocal score for "Musical Setting," nine copies of the "Carol," an excerpt
Boosey & Hawkes, New York, NY
Oboe and piano
Boosey & Hawkes, New York, NY
Oboe solo and chamber orchestra
Mills Music, New York, NY.
Band. Two complete sets of conductor's score and 64 parts.
SATB and piano. Miniature choral scores, one set missing p. 44; another missing pp. 16, 40, 44. Repeated copies of some pages.
Neil A. Kjos Music Co., Park Ridge, IL
Band.
Mills Music, New York, NY.
Trombone solo with piano arrangement. Two complete sets of piano score and trombone part, two additional copies of piano score.
Pride Music Publications, Inc., New York, NY
SATB and piano, one choral score.
Interlochen Press, Interlochen MI
Band with narrator. Two conductor's scores and all parts, some with multiple copies.
"Sermon in song." Five complete copies and two incomplete copies of score (condensed version). One complete set of parts, and sketches.
Handwritten notes for script.
I. Genuine Spirit of the Old West with Real Cowboys; II. Only 60 Miles from New York City; III. Gentle Riding Horses; IV. Magnificent Scenery!; V. A Fiesta Every Night.
Four pianos. Onionskin copy of score.
Piano with narrator. Musical sketches for a series of fairy tales including Old Mother Hubbard, Goldilocks, Prince Charming, and Snow White
Handwritten notes.
Mills Music, New York, NY.
Parts to "Five Piece Combo" courtesy of Kenneth Smith.
Woodwind quintet, score and parts.
Interlochen Press, Interlochen MI
Band. Complete set of score and parts, with some additional copies of parts.
"Re-used as Scherzino for Strings"
String quartet and woodwind quintet. Full score, bound. Parts for woodwind quintet only.
Based on the story by O. Henry.
Script, four copies.
Based on the story by O. Henry.
Chamber orchestra, chorus, three soloists. Four copies of full score; two bound, one in sections. Some musical sketches. Seven copies of choral/piano score, some incomplete. One folder of inserts for parts and score. Copies and onionskin pages for all parts. This box: score, parts, and sketches. See also: Boxes 10, 11, 113, 114, 177.
Based on the story by O. Henry.
Chamber orchestra, chorus, three soloists. Four copies of full score; two bound, one in sections. Some musical sketches. Seven copies of choral/piano score, some incomplete. One folder of inserts for parts and score. Copies and onionskin pages for all parts. This box: score, parts, and sketches. See also: Boxes 9, 11, 113, 114, 177.
Based on the story by O. Henry.
Chamber orchestra, chorus, three soloists. Four copies of full score; two bound, one in sections. Some musical sketches. Seven copies of choral/piano score, some incomplete. One folder of inserts for parts and score. Copies and onionskin pages for all parts. This box: score, parts, and sketches. See also: Boxes 9, 10, 113, 114, 177.
Treasure Music Publications, Dallas, TX
29 copies of choral/piano score, many with publisher information taped over. See also: Boxes 12, 13
29 copies of choral/piano score, many with publisher information taped over. See also: Boxes 11, 13.
29 copies of choral/piano score, many with publisher information taped over. See also: Boxes 11, 12.
From the opera Pep Rally. Mills Music, New York, NY
Band; two complete sets of score and parts. Six copies of vocal/piano score.
Pride Music Publications, Inc., New York, NY
SSA choir and piano; three choral scores.
Accompanying notecard: "Script by Don Gillis, Sr., Music by Don Gillis, Jr. This was the only time they worked together musically."
Script. See also: Box 116 (score).
Don Gillis, Forest Hills, NY
Mixed choir. 142 copies of score.
Revised in 1966 from earlier version. Fema Music Publications, Chicago, IL
SATB and piano. 2 copies of score.
Mixed choir. Onionskin copy, transparency of score, musical sketches.
Bourne Co., New York, NY
Band. Complete set with full score and parts; many parts with multiple copies. See also: Box 185.
From the series Adventure in Form. Frank Music Corp., New York, NY
Conductor score, lesson plan, parts.
Opera. Four copies of piano/vocal score; copies and onionskin copies of all instrumental parts. See also: Boxes 15, 17, 18
Opera. Four copies of piano/vocal score; copies and onionskin copies of all instrumental parts. See also: Boxes 15, 16, 18
Opera. Four copies of piano/vocal score; copies and onionskin copies of all instrumental parts. See also: Boxes 15, 16, 17
Handwritten notes and libretto, four typed libretti and scripts, hand-drawn stage sketches
Orchestral work: parts See also: Box 20.
Orchestral work: parts. See also: Box 19.
Piano, solo voice. Two copies.
Boosey & Hawkes, New York, NY
One copy of preview/miniature score.
Sketches.
Notes, scripts.
Treasure Music Publications, Dallas, TX.
SATB with concert band or piano/organ. Choral score.
Dedicated to Nels Vogel. Manuscript sketches and score at the Library of Congress.
Suite for band, score and parts. Complete score assembled from published versions of separate movements. See also: Box 22.
Dedicated to Nels Vogel. Manuscript sketches and score at the Library of Congress.
Suite for band, score and parts. Complete score assembled from published versions of separate movements. See also: Box 21.
Dedicated to the memory of Estell Arthur Owens.
"Sacred dramatic work." Six copies of piano/vocal score, and onionskin copy; instrumental parts; some scores with annotations for slide/motion picture and tape tracks. See also: Boxes 24, 25.
Dedicated to the memory of Estell Arthur Owens.
"Sacred dramatic work." Six copies of piano/vocal score, and onionskin copy; instrumental parts; some scores with annotations for slide/motion picture and tape tracks. See also: Boxes 23, 25.
Dedicated to the memory of Estell Arthur Owens.
"Sacred dramatic work." Six copies of piano/vocal score, and onionskin copy; instrumental parts; some scores with annotations for slide/motion picture and tape tracks. See also: Boxes 23, 24.
Treasure Music Publications, Dallas, TX.
Chorus with solos and narrator, piano or organ. Two scores.
Production book: typed script mounted on construction paper and held loosely in folder.
"Sacred dramatic work." Individual songs.
Nine copies of libretto; handwritten synopsis and typed prop list.
Mills Music, New York, NY. Full set of score and parts reprinted by Kalmus, Opa-Locka, FL.
Band with narrator. Two sets; one missing conductor's score and narrator part.
Published posthumously by Barbara Gillis. Bassoon Heritage Edition / Miami Music Editions, Ft. Lauderdale, FL
Bassoon quartet. Four complete sets of scores and parts.
For band. Sketches and revisions.
Volkwein Bros., Inc., Pittsburgh, PA
For band. Three full scores, copies of all parts except D-flat piccolo and E-flat horn.
For a film produced by the South Carolina Department of Mental Health
Scripts and notes.
Musical comedy. Sketches, some music on onionskin paper.
One handwritten copy, two typed copies of script, drawing of title character
Interlochen Press, Interlochen, MI
Full score, conductor score, and parts.
Musical theme of radio production.
Solo piano. Eleven copies of piano score.
Orchestral work. Section 1 only; trumpet and trombone parts incomplete.
Piano, chorus, and soloists. Four printed copies and one photocopy of full score, one bound and signed. 41 copies of chorus-only scores. See also: Boxes 32, 33, 34.
Piano, chorus, and soloists. Four printed copies and one photocopy of full score, one bound and signed. 41 copies of chorus-only scores. See a;so: Boxes 32, 33, 34. See also: Boxes 31, 33, 34.
Piano, chorus, and soloists. Four printed copies and one photocopy of full score, one bound and signed. 41 copies of chorus-only scores. See also: Boxes 31, 32, 34.
Piano, chorus, and soloists. Four printed copies and one photocopy of full score, one bound and signed. 41 copies of chorus-only scores. See also: Boxes 31, 32, 33.
Programs for Music Leadership Conferences in Ridgecrest, NC (1970 July 7, 3 copies) and Glorieta, NM (1970 July 21, 4 copies)
Concert programs, printed by Boardman press. Several copies of script with annotations. One copy of script bound and signed.
White piano/vocal score accounts for markings in brown score
Two piano/vocal scores, one chorus book. Eleven additional copies of chorus/vocal score, spiral bound. Onionskin copies of piano/vocal score and all parts. One bound, signed copy of vocal score. See also: Boxes 35, 36, 37, 38, 124, 125
White piano/vocal score accounts for markings in brown score
Two piano/vocal scores, one chorus book. Eleven additional copies of chorus/vocal score, spiral bound. Onionskin copies of piano/vocal score and all parts. One bound, signed copy of vocal score. See also: Boxes 34, 36, 37, 38, 124, 125
White piano/vocal score accounts for markings in brown score
Two piano/vocal scores, one chorus book. Eleven additional copies of chorus/vocal score, spiral bound. Onionskin copies of piano/vocal score and all parts. One bound, signed copy of vocal score. See also: Boxes 34, 35, 37, 38, 124, 125
White piano/vocal score accounts for markings in brown score
Two piano/vocal scores, one chorus book. Eleven additional copies of chorus/vocal score, spiral bound. Onionskin copies of piano/vocal score and all parts. One bound, signed copy of vocal score. See also: Boxes 34, 35, 36, 38, 124, 125
White piano/vocal score accounts for markings in brown score
Two piano/vocal scores, one chorus book. Eleven additional copies of chorus/vocal score, spiral bound. Onionskin copies of piano/vocal score and all parts. One bound, signed copy of vocal score. See also: Boxes 34, 35, 36, 37, 124, 125
From "Four Scenes from Yesterday." Boosey & Hawkes, New York, NY.
Flute solo and string orchestra
Orchestra with narrator. One copy of condensed score with narrator part. Multiple copies of instrumental parts.
Two copies of cue scripts for The Other Thief, And It Came to Pass, The Barley Loaves, The Good Samaritan, The Answer, and His Name Was John
"Musical comedy." Woodwind and bass parts, stage band arrangement of "Each Night I Dream" from the musical.
Three copies of libretto; notes for opera.
Two copies of full score, one bound, one on onionskin paper. Onionskin copies and multiple copies of all parts. See also: Box 127.
Band. Onionskin copy and negatives of full score. Onionskin and copies of all parts. Score with handwritten markings. See also, Boxes 42, 165
Band. Onionskin copy and negatives of full score. Onionskin and copies of all parts. Score with handwritten markings. See also, Boxes 42, 165
Mills Music, Inc., New York, NY. Extra copy of score reprinted by Kalmus, Opa-Locka FL.
Band. Score and parts, with extra copy of score.
Five copies of script, and concert programs.
From The Atlanta Suite. Mills Music, Inc., New York, NY
Band. Conductor's score and parts.
Five movements: I. Chamber of Commerce; II. Where the West Begins; III. Ranch House Party; IV. Prairie Sunset; V. Main Street Saturday Night.
Orchestral work, one full score.
Orchestral work. All parts present; multiple copies of string parts.
SATB and piano. Eight copies, and onionskin copy of choral score.
SATB and piano. Eleven copies of choral score, one photocopy
String quartet. Three copies of Violin I and II parts; two copies of viola. See also: Box 45.
String quartet. Three copies of Violin I and II parts; two copies of viola. See also: Box 44.
String quartet. Score, only for second movement.
Solo organ.
Originally last movement of Symphony No. 2 for Band.
Band. One copy of score; onionskin and paper copies of all parts. See also: Box 185.
Mills Music, Inc., New York, NY
Violin and piano; score and violin part.
Partial set of parts for band arrangement.
Condensed score, parts (several duplicates); onionskin copies of score and many parts. See also: Boxes 47, 48, 49, 167, 186.
Condensed score, parts (several duplicates); onionskin copies of score and many parts. See also: Boxes 46, 48, 49, 167, 186.
Condensed score, parts (several duplicates); onionskin copies of score and many parts. See also: Boxes 46, 47, 49, 167, 186.
Condensed score, parts (several duplicates); onionskin copies of score and many parts. See also: Boxes 46, 47, 48, 167, 186.
Mills Music, Inc., New York, NY. Set of score and parts reprinted by Kalmus, Opa-Locka FL.
Band. Conductor's score and parts; extra copy of score.
Belwin Mills, Miami FL, and Melville, NY
Trumpet quartet. Score and parts, and complete set of photocopies.
Also at Library of Congress and Texas Christian University.
Band. Complete, with many additional copies of parts.
Title covers a previous title: "Symphony II for Band. Movement I. Self-Portrait"
Band. Complete set of parts, many with multiple copies.
Mills Music, Inc. New York, NY.
Mixed choir. Score and parts - photocopies.
Arranged for woodwinds and strings. Score and parts.
Approximately 30 pages of musical sketches.
Sketches, SATB and piano.
SATB and piano. 35 copied pages of piano/choir score.
From Suite No. 2 for Woodwind Quintet, Three Sketches. Mills Music, Inc. New York, NY.
Full score and parts - photocopies.
From Suite No. 2 for Woodwind Quintet, Three Sketches. Mills Music, Inc. New York, NY.
Full score and parts - photocopies.
From Suite No. 2 for Woodwind Quintet, Three Sketches. Mills Music, Inc. New York, NY.
Full score and parts - photocopies.
Pride Music Publications, Inc., New York, NY
SATB and piano. Seven choral scores.
Pride Music Publications, Inc., New York, NY
"Sermon in song." SATB with piano or organ. 123 copies of choral score; one signed copy. See also: Boxes 53, 54, 55.
Pride Music Publications, Inc., New York, NY
"Sermon in song." SATB with piano or organ. 123 copies of choral score; one signed copy. See also: Boxes 52, 54, 55.
Pride Music Publications, Inc., New York, NY
"Sermon in song." SATB with piano or organ. 123 copies of choral score; one signed copy. See also: Boxes 52, 53, 55.
Pride Music Publications, Inc., New York, NY
"Sermon in song." SATB with piano or organ. 123 copies of choral score; one signed copy. See also: Boxes 52, 53, 54.
Tape transcript explains that piece was arranged for both band and orchestra, and "the two orchestrations combine for use with huge festival-type presentations."
Band and orchestra: parts for both ensembles, some not clearly marked. See also: Boxes 56, 131.
Tape transcript explains that piece was arranged for both band and orchestra, and "the two orchestrations combine for use with huge festival-type presentations."
Band and orchestra: parts for both ensembles, some not clearly marked. See also: Boxes 55, 131.
Compositional exercises (including canons and fanfares); sketches for unidentified works as well as Good Samaritan, The Other Thief, Instant Replay, And It Came to Pass, and As It Was in the Beginning. See also: Boxes 58, 133, 187.
Compositional exercises (including canons and fanfares); sketches for unidentified works as well as Good Samaritan, The Other Thief, Instant Replay, And It Came to Pass, and As It Was in the Beginning. See also: Boxes 57, 133, 187.
Dedicated to Lloyd Oakland.
Band and score. Onionskin copy of score, loose pages, and spiral-bound copy. One copy of "working" score." Multiple copies of parts. Onionskin vocal score; 35 copies of vocal score, spiral-bound. See also: Boxes 60, 61, 62, 187
Dedicated to Lloyd Oakland.
Band and score. Onionskin copy of score, loose pages, and spiral-bound copy. One copy of "working" score." Multiple copies of parts. Onionskin vocal score; 35 copies of vocal score, spiral-bound. See also: Boxes 59, 61, 62, 187
Dedicated to Lloyd Oakland.
Band and score. Onionskin copy of score, loose pages, and spiral-bound copy. One copy of "working" score." Multiple copies of parts. Onionskin vocal score; 35 copies of vocal score, spiral-bound. See also: Boxes 59, 60, 62, 187
Dedicated to Lloyd Oakland.
Band and score. Onionskin copy of score, loose pages, and spiral-bound copy. One copy of "working" score." Multiple copies of parts. Onionskin vocal score; 35 copies of vocal score, spiral-bound. See also: Boxes 59, 60, 61, 187
Interlochen Press, Interlochen, MI.
String orchestra; score and parts.
From Symphony No. 5 1/2: A Symphony for Fun. Boosey & Hawkes, New York, NY
Band. Condensed score and parts.
Opera. Three copies of libretto; notes for opera.
Opera. Score and parts; three bound copies, two onionskin copies of piano/vocal score, and additional unbound copy of Act I. Copies of choral parts and individual character parts. Onionskins and copies of some instrumental parts. Full score of some sections. See also: Boxes 64, 65, 66, 67, 68, 69, 188
Opera. Score and parts; three bound copies, two onionskin copies of piano/vocal score, and additional unbound copy of Act I. Copies of choral parts and individual character parts. Onionskins and copies of some instrumental parts. Full score of some sections. See also: Boxes 63, 65, 66, 67, 68, 69, 188
Opera. Score and parts; three bound copies, two onionskin copies of piano/vocal score, and additional unbound copy of Act I. Copies of choral parts and individual character parts. Onionskins and copies of some instrumental parts. Full score of some sections. See also: Boxes 63, 64, 66, 67, 68, 69, 188
Opera. Score and parts; three bound copies, two onionskin copies of piano/vocal score, and additional unbound copy of Act I. Copies of choral parts and individual character parts. Onionskins and copies of some instrumental parts. Full score of some sections. See also: Boxes 63. 64. 65, 67, 68, 69, 188
Opera. Score and parts; three bound copies, two onionskin copies of piano/vocal score, and additional unbound copy of Act I. Copies of choral parts and individual character parts. Onionskins and copies of some instrumental parts. Full score of some sections. See also: Boxes 63, 64, 65, 66, 68, 69, 188
Opera. Score and parts; three bound copies, two onionskin copies of piano/vocal score, and additional unbound copy of Act I. Copies of choral parts and individual character parts. Onionskins and copies of some instrumental parts. Full score of some sections. See also: Boxes 63, 64, 65, 66, 67, 69, 188
Opera. Score and parts; three bound copies, two onionskin copies of piano/vocal score, and additional unbound copy of Act I. Copies of choral parts and individual character parts. Onionskins and copies of some instrumental parts. Full score of some sections. See also: Boxes 63, 64, 65, 66, 67, 68, 188
Chamber orchestra and narrator. Score and parts; two copies of score. Narrator part missing. See also: Box 168
Interlochen Press, Interlochen, MI.
String orchestra; score and parts.
Band. score (2 copies) and parts.
Parts; multiple copies of string parts.
Band. Parts and onionskin masters.
Band. Parts and onionskin masters. See also: Box 73.
Barcode 697787.
Band. Parts and onionskin masters. See also: Box 72.
Educational Music Service, New York, NY; one copy also stamped "Interlochen Press"
Parts, two complete sets.
Educational Music Service, New York, NY; score: "copyright transferred to Interlochen Press -1958
One copy of full score; two sets of parts
Barcode 697788.
Orchestral work. Score and parts; wind parts are computer printouts. Onionskin copies of score and string parts. See also: Boxes 139, 140.
One copy of score in better condition than the other.
Orchestral work. Two copies of full score; multiple copies of parts. Onionskin copies of score and parts. See also: Boxes 75, 140, 141, 169
Barcode 697789.
One copy of score in better condition than the other.
Orchestral work. Two copies of full score; multiple copies of parts. Onionskin copies of score and parts. See also: Boxes 74, 140, 141, 169
Barcode 697790.
Orchestral work. Sketches, and six copies of full score; multiple copies of all parts. Originals of score and parts also present. See also: Boxes 77, 150, 151, 152, 169, 270, 191
Barcode 697791.
Orchestral work. Sketches, and six copies of full score; multiple copies of all parts. Originals of score and parts also present. See also: Boxes 77, 150, 151, 152, 169, 270, 191
Barcode 697792.
Orchestral work. Parts, condensed score, onionskin copies of string parts. See also: Boxes 79, 153.
Barcode 697793.
Orchestral work. Parts, condensed score, onionskin copies of string parts. See also: Boxes 78, 153.
Documentary film score for full orchestra. Score and parts. Two copies of violin I, II, viola, cello. Sketches also present. See also: Boxes 80, 81, 153
Barcode 697794.
Documentary film score for full orchestra. Score and parts. Two copies of violin I, II, viola, cello. Sketches also present. See also: Boxes 79, 81, 153
Barcode 697795.
Documentary film score for full orchestra. Score and parts. Two copies of violin I, II, viola, cello. Sketches also present. See also: Boxes 79, 80, 153
Mills Music, Inc., New York, NY, reprinted by Kalmus, Opa-Locka, FL
Orchestral work. Piano conductor score, parts, and photocopies of parts.
Movements: I. Rumor; II. Border; III. Short But Effective Lullaby; IV. Little D.G.; V. Hymn; VI. Her; VII. First Person Singular; VIII. Dirge; IX. Confusion; X. Conclusion.
Piano. Onionskin, originals of score.
Written for Thanksgiving Square in Dallas.
Piano, solo voice. Sketches, one copy of piano/vocal score, two copies of Folk Song - one lead sheet, one piano/vocal
From Suite No. 1 for Woodwind Quintet, The Fable of the Tortoise and the Hare.
Woodwind quintet; score and parts - photocopies.
Original version, written the morning after Pearl Harbor attack of 12/7/1941. Later rewritten as a patriotic cantata.
Piano/solo voice. Piano/vocal score.
Mills Music, Inc., New York, NY
Baritone or alto solo and mixed voices with piano accompaniment. Two copies of full score; nine copies of choral part.
Forest Music Pubications, New York, NY
Baritone solo with piano accompaniment. One copy of vocal/piano score.
Barcode 697796.
Piano. One complete, bound score, and extra copies of several movements.
Flute and orchestra or piano. Three copies of flute/piano score, one bound; three copies of flute/ orchestra score, two incomplete. See also: Box 163.
Movements: I. Frolic; II. Calculation; III. Social Whirl.
Solo flute with piano accompaniment. Three copies of score.
Band with narrator. Onionskin copies of parts; spiral-bound sketches
Barcode 697797.
Transcribed by Maurice Ford from composer's original score. Mills Music, Inc., New York, NY
Band. Two complete sets of full score and parts.
Barcode 697798.
Mills Music, Inc. New York, NY. Set with conductor's score reprinted by Kalmus, Opa-Locka, FL.
Band. Two sets of score and parts, one with conductor's score, one with parts only.
Mills Music, Inc., New York, NY. Reprinted by Kalmus, Opa-Locka, FL.
Band. Conductor's score, parts, optional piano and harp parts.
Barcode 697799.
Interlochen Press, Interlochen, MI.
Band. Two complete sets, conductor's score and parts.
Written for Dallas Baptist College A Capella Choir while Gillis was composer-in-residence
SATB and piano. Small notebook with music sketches; piano/vocal score on looseleaf pages, first page missing.
Interlochen Press, Interlochen, MI.
Percussion, kitchen utensils, and band. Full score and parts.
Barcode 697800.
Band, parts. See also: Box 162.
Rental slips for score and parts, program notes.
"A brief episode for the stage." Piano/vocal score at the University of South Carolina
Orchestral work. One copy of score, bound, in two volumes. See also: Boxes 87, 171.
Barcode 704484.
"A brief episode for the stage." Piano/vocal score at the University of South Carolina
Orchestral work. One copy of score, bound, in two volumes. See also: Boxes 86, 171.
Pride Music Publications, Inc., New York, NY
SATB and piano, four choral scores.
Barcode 704485.
Flute I, II, harp parts only.
Band with narrator. One complete set with conductor score and parts, one partial set.
Based on the book Alice in Orchestralia by Ernest La Prade
Orchestra with narrator. Full score.
Same music as Serenade for Reston
SATB with piano. Score.
Orchestral work. Four copies of score: looseleaf (2), spiral-bound, onionskin. Piano part also present. See also: Box 91.
Barcode 704486.
Orchestral Work. Full score, spiral bound. Multiple and onionskin copies of all parts.
Barcode 704487.
Chappell & Co., New York, NY; Interlochen Press, Interlochen, MI
Orchestral work. One copy of full score printed by Chappell. Seventeen copies and one bound, signed copy printed by Interlochen Press.
Barcode 704488.
Parts, multiple copies: See also: Box 88.
Barcode 704489.
Originally first movement for 2nd Symphony for Band and the suite Band Concert. Interlochen Press, Interlochen, MI
Band.
Barcode 704490.
Condensed score and parts, onionskin copies.
Written for Texas Christian University in honor of Amon G. Carter.
Band with rhythm section. Score and parts; multiple copies of some parts, other parts missing.
Multimedia essay for narrator, chorus, small orchestra, and piano. Sketches, full score, seven copies of narrator/condensed score, multiple copies of instrumental parts. No chorus part present.
Barcode 704491.
Opera. One bound copy of score, several looseleaf copies, pages not in order. Instrumental parts complete; some vocal parts. See also: Boxes 95, 96
Barcode 704492.
Opera. One bound copy of score, several looseleaf copies, pages not in order. Instrumental parts complete; some vocal parts. See also: Boxes 94, 96
Barcode 704493.
Opera. One bound copy of score, several looseleaf copies, pages not in order. Instrumental parts complete; some vocal parts. See also: Boxes 94, 95
Orchestral work. Onionskin copies of parts.
Barcode 704494.
Band with piano. Multiple copies of all parts (alto sax II and tenor sax I-III missing). Onionskin copies with full score and parts. Two copies of full score. See also: Box 98
Barcode 704495.
Band with piano. Multiple copies of all parts (alto sax II and tenor sax I-III missing). Onionskin copies with full score and parts. Two copies of full score. See also: Box 97
Barcode 704496.
Band. Full score, multiple copies of condensed score, all parts, and onionskin copies.
Scripts, libretti, and notes: script sketches and folder "Script as used to compose." 6 copies of libretto, and sketch of set by John Colas. See also: Box 100.
Barcode 704497.
Scripts, libretti, and notes: script sketches and folder "Script as used to compose." 6 copies of libretto, and sketch of set by John Colas. See also: Box 99.
Barcode 704498.
Opera/oratorio.
Sketches in six spiral notebooks and on looseleaf pages. Three copies of piano/vocal score, and one copy of full score, pages not in order. See also: Boxes 102, 175, 176, 194.
Barcode 704499.
Sketches in six spiral notebooks and on looseleaf pages. Three copies of piano/vocal score, and one copy of full score, pages not in order. See also: Boxes 101, 175, 176, 194.
Barcode 704502.
Third movement of Star-Spangled Symphony
Orchestral work. Two copies of score (spiral-bound and onionskin). Multiple copies of all parts.
Barcode 704503.
Musical comedy. Sketches, early versions of some songs, band score and parts, partial full score, individual parts.
Six-part canon, score.
Piano.
From Portrait of a Frontier Town
Orchestral work. One score, onionskin.
String orchestra. Two copies of full score, multiple copies of all parts.
Barcode 704504.
G.F. Handel, arranged by Don Gillis
Orchestra with organ. Two copies of full score, spiral-bound, one onionskin copy. Orchestral parts, onionskin
Solo organ and ban. Two copies of full score.
Solo piano with orchestra. Full score, piano score, parts (many with multiple copies). See also: Boxes 106, 107.
Barcode 704505.
Solo piano with orchestra. Full score, piano score, parts (many with multiple copies). See also: Boxes 105, 107.
Barcode 704506.
Solo piano with orchestra. Full score, piano score, parts (many with multiple copies). See also: 105, 106.
Barcode 704507.
Solo trombone with band, onionskin copies of parts.
For NBC Monday night broadcasts.
Orchestra with voice. Multiple copies of all parts; piano/vocal part is also conductor score.
Dedicated to Joseph Kahn
Solo and second piano. Onionskin score, sketches, and incomplete score.
Cover title. Same music as Insurance Picture.
Film score for orchestra.
Barcode 704508.
Orchestra. Parts, multiple copies of violin I and II. See also: boxes 110, 111, 112
Barcode 704509.
Orchestra. Parts, multiple copies of violin I and II. See also: boxes 109, 111, 112
Barcode 704510.
Orchestra. Parts, multiple copies of violin I and II. See also: boxes 109, 110, 112
Orchestra. Parts, multiple copies of violin I and II. See also: boxes 109, 110, 112
Barcode 704511.
Orchestra. Parts, multiple copies of violin I and II. See also: boxes 109, 110, 111
Oboe solo with strings, percussion, harp, celeste-piano. Full score and parts, onionskin copies of score, parts, and condensed score.
Barcode 704512.
Movements and dedications: I. North Harris, Flute (to Arthur Lora); II. Courthouse Square, Oboe (to Paul Rienz); III. From a Winter's Dream, clarinet (to Robert McGinnis); IV. Brushy Creek, bassoon (to Leonard Sharrow)
Full score, with extra copy of score for third movement.
Chamber orchestra, chorus, three soloists. Four copies of full score; two bound, one in sections. Some musical sketches. Seven copies of choral/piano score, some incomplete. One folder of inserts for parts and score. Copies and onionskin pages for all parts. This box: score, parts, and sketches. See also: Boxes 9, 10, 11, 114, 177.
Barcode 704513.
Chamber orchestra, chorus, three soloists. Four copies of full score; two bound, one in sections. Some musical sketches. Seven copies of choral/piano score, some incomplete. One folder of inserts for parts and score. Copies and onionskin pages for all parts. This box: score, parts, and sketches. See also: Boxes 9, 10, 11, 113, 177.
Barcode 704514.
Lyrics by Don Gillis and Orvill Purdy.
SATB choir and piano. Eight copies of piano/choral score.
Based on nature stories by Thornton W. Burgess. Script and narration by John Rust.
Chamber orchestra and narrator; two copies of full score; parts incomplete: narrator missing.
Script.
Barcode 704515.
Orchestra with narrator. Three copies of full score; parts; multiple copies of percussion and string parts.
"A Magic Giant Story for Television performance by puppets and people." Accompanying notecard: "Script by Don Gillis, Sr. Music by Don Gillis, Jr. This was the only time they worked together musically."
Photocopy of full score. See also: Box 14 (script)
SATB and piano. One copy of score.
Chorale by Giovanni Giacomo Gastoldi, 1591; chorale variation by J.S. Bach (BWV 615), arranged by Don Gillis.
Band with string bass. Two copies of score, parts on paper and onionskin paper. Five copies of clarinet II.
SATB with concert band or piano/organ. One photocopy of full score.
Transcribed by T.J. Rand
Brass, winds, chorus, organ, and percussion. One copy of full score.
Barcode 704516.
Band. Originals and multiple copies of conductor's score and all parts.
Barcode 704517.
Three copies of piano/vocal score. Multiple copies of all instrumental parts. See also: Boxes 119, 120.
Barcode 704518.
Three copies of piano/vocal score. Multiple copies of all instrumental parts. See also: Boxes 118, 120.
Barcode 704519.
Three copies of piano/vocal score. Multiple copies of all instrumental parts. See also: Boxes 118, 119.
Stamped "From the rental library of Chappell & Co., Inc."
Orchestral work. Full score.
Movements: I. Gentlemen, The King!; II. Marching Men; III. Temple Dance; IV. Moment of Worship; V. Make Mine Enchiladas; VI. Pad That Casket, Please; VII. Rush That Russian; VIII. Mort the Mortician.
Documentary film score for orchestra.
Barcode 704520.
Bassoon quartet. Three copies of score and parts; sketches.
Voice and piano. One copy with markings in pencil.
Onionskin and copies of all parts; onionskin copy of condensed score.
Barcode 704521.
For a film produced by the South Carolina Department of Mental Health. Sections: I., II. City Streets; III. Cops and Man; IV,V, VI, VII. Laundromat, VII, IX.
Full score and reduced photocopy of score. See also: Box 29 (script and notes).
Band. Parts; onionskin copies.
Band. Originals and copies of conductor's score and parts. See also: Box 123.
Barcode 704522.
Band. Originals and copies of conductor's score and parts. See also: Box 122.
Barcode 704562.
Based on "In My Merry Oldsmobile" by Gus Edwards (1905).
Orchestral work. Score only.
Sketches and notes. Many copies of one-page "Revisions for Joanna's Aria, pages 112, 113, 114 Nazarene"
White piano/vocal score accounts for markings in brown score
Two piano/vocal scores, one chorus book. Eleven additional copies of chorus/vocal score, spiral bound. Onionskin copies of piano/vocal score and all parts. One bound, signed copy of vocal score. See also: Boxes 34, 35, 36, 37, 38, 125
Barcode 704523.
White piano/vocal score accounts for markings in brown score
Two piano/vocal scores, one chorus book. Eleven additional copies of chorus/vocal score, spiral bound. Onionskin copies of piano/vocal score and all parts. One bound, signed copy of vocal score. See also: Boxes 34, 35, 36, 37, 38, 124
Band. Original and copy of each part. See also: Box 185.
Motet for five voices; one score.
Band. Sketches and some parts; possibly incomplete.
Orchestra. No score, parts only. Instrumentation listed inside back cover.
Barcode 704524.
Woodwind ensemble with percussion and piano. Score and parts.
Orchestral work. Three copies of score; parts, with multiple copies of string parts; program notes by the composer accompany one score. See also: Boxes 127, 165, 183.
Barcode 704525.
Orchestral work. Three copies of score; parts, with multiple copies of string parts; program notes by the composer accompany one score. See also: Boxes 126, 165, 183.
Two copies of full score, one bound, one on onionskin paper. Onionskin copies and multiple copies of all parts. See also: Box 40.
Full score; onionskin copies of full score and parts.
BWV 849 from the Well-Tempered Clavier, Book I. Arranged by Gillis.
String quartet. Full score and sketches.
SATB and piano. Two copies of score; sketches.
String quartet. Two copies of score, one copy of each part.
Barcode 704526.
Dedicated to Albert Thomas Luper
String quartet (violin I, II, viola, cello). Two full scores, one set of parts in folders, one set of parts on manuscript paper, taped together.
String quartet. Multiple copies of parts.
Distinct from adjacent item with same title. Dedicated to Bob Denton.
String quartet. Score missing pp. 23-36, 40. Complete Violin I part.
Distinct from adjacent item with same title. Movements: II. Slow Blues; IV. Finale.
String quartet. Parts for movements II, IV.
Barcode 704527.
Dedicated to Donald E. Johnson.
Two copies of full score; additional copy of first movement; parts; two copies of string parts. See also: Boxes 165, 166.
Note on file: "Once a part of Dude Ranch, now in Portrait of a Frontier Land"
Orchestral work. Full score.
Orchestra with narrator. Five copies of full score; multiple copies of parts, with onionskin copies. See also: Boxes 130, 166.
Barcode 704528.
Orchestra with narrator. Five copies of full score; multiple copies of parts, with onionskin copies. See also: Boxes 129, 166.
Barcode 704530.
Divided by reel number.
Documentary film score for orchestra.
Piano/vocal score. See also: Box 88, Item 5 (Alma Mater, Dallas Baptist College)
Band and orchestra: parts for both ensembles, some not clearly marked. See also: Boxes 55, 56.
Barcode 704529.
For Christmas Eve, 1949. Narration by Heywood Brown.
Orchestra with narrator. Full score; parts, some additional copies.
First heard on the NBC broadcast Music for To-Night
Orchestral work. Two scores, one photocopy.
Orchestral work. Full score, parts, multiple copies and onionskin copies of strings and percussion.
Sketches.
Barcode 704531.
Commisioned for Phi Mu Alpha Sinfonia for national convention in Cincinnati.
Brass choir. Full score, parts, onionskin copies of all.
Compositional exercises (including canons and fanfares); sketches for unidentified works as well as Good Samaritan, The Other Thief, Instant Replay, And It Came to Pass, and As It Was in the Beginning. See also: Boxes 57, 58, 187.
Barcode 704532.
Band. Original copies (partial set) and onionskin copies (complete set) of parts.
Handwritten note to "Arthur" regarding revisions of first-movement string parts.
Orchestral work. Two copies of full score, multiple copies of parts; onionskin copies of score and parts. See also: Boxes 135, 136, 137, 138, 167
Barcode 704533.
Orchestral work. Two copies of full score, multiple copies of parts; onionskin copies of score and parts. See also: Boxes 134, 136, 137, 138, 167
Barcode 704534.
Orchestral work. Two copies of full score, multiple copies of parts; onionskin copies of score and parts. See also: Boxes 134, 135, 137, 138, 167
Barcode 704535.
Orchestral work. Two copies of full score, multiple copies of parts; onionskin copies of score and parts. See also: Boxes 134, 135, 136, 138, 167
Barcode 704536.
Orchestral work. Two copies of full score, multiple copies of parts; onionskin copies of score and parts. See also: Boxes 134, 135, 136, 137, 167
String quartet. Parts; onionskin copies.
Orchestral work. Two copies and onionskin photocopy of score; two copies of all parts, condensed score for first movement. See also: Boxes 139, 168, 191
Barcode 704537.
Orchestral work. Two copies and onionskin photocopy of score; two copies of all parts, condensed score for first movement. See also: Boxes 138, 168, 191.
Orchestral work. Score and parts; wind parts are computer printouts. Onionskin copies of score and string parts. See also: Boxes 74, 140.
Barcode 704538.
Orchestral work. Score and parts; wind parts are computer printouts. Onionskin copies of score and string parts. See also: Boxes 74, 139.
One copy of score in better condition than the other.
Orchestral work. Two copies of full score; multiple copies of parts. Onionskin copies of score and parts. See also: Boxes 74, 75, 141, 169
Barcode 704539.
One copy of score in better condition than the other.
Orchestral work. Two copies of full score; multiple copies of parts. Onionskin copies of score and parts. See also: Boxes 74, 75, 140, 169
Boosey & Hawkes, printed in England. Movements: I. Perpetual Emotion; II. Spiritual?; III. Scherzofrenia; IV. Conclusion!
Orchestral work. Photocopy of full score.
Barcode 704540.
Orchestral work. Four copies of full score, multiple copies of all parts. Onionskin copies of score and parts. See also: Boxes 143, 144, 145, 146, 147.
Barcode 704541.
Orchestral work. Four copies of full score, multiple copies of all parts. Onionskin copies of score and parts. See also: Boxes 142, 144, 145, 146, 147.
Barcode 704542.
Orchestral work. Four copies of full score, multiple copies of all parts. Onionskin copies of score and parts. See also: Boxes 142, 143, 145, 146, 147.
Barcode 704543.
Orchestral work. Four copies of full score, multiple copies of all parts. Onionskin copies of score and parts. See also: Boxes 142, 143, 144, 146, 147.
Barcode 704544.
Orchestral work. Four copies of full score, multiple copies of all parts. Onionskin copies of score and parts. See also: Boxes 142, 143, 144, 145, 147.
Barcode 704545.
Orchestral work. Four copies of full score, multiple copies of all parts. Onionskin copies of score and parts. See also: Boxes 142, 143, 144, 145, 146.
Written for the 75th anniversary of the founding of Texas Christian University.
Orchestral work. Full score, multiple copies of parts. Onionskin copies of score and parts. See also: Boxes 148, 149, 150.
Barcode 704546.
Written for the 75th anniversary of the founding of Texas Christian University.
Orchestral work. Full score, multiple copies of parts. Onionskin copies of score and parts. See also: Boxes 144, 149, 150.
Barcode 704547.
Written for the 75th anniversary of the founding of Texas Christian University.
Orchestral work. Full score, multiple copies of parts. Onionskin copies of score and parts. See also: Boxes 144, 148, 150.
Barcode 704548.
Written for the 75th anniversary of the founding of Texas Christian University.
Orchestral work. Full score, multiple copies of parts. Onionskin copies of score and parts. See also: Boxes 147, 148, 150.
Orchestral work. Sketches, and six copies of full score; multiple copies of all parts. Originals of score and parts also present. See also: Boxes 76, 77, 151, 152, 169, 270, 191
Barcode 704549.
Orchestral work. Sketches, and six copies of full score; multiple copies of all parts. Originals of score and parts also present. See also: Boxes 76, 77, 150, 152, 169, 270, 191
Barcode 704550.
Orchestral work. Sketches, and six copies of full score; multiple copies of all parts. Originals of score and parts also present. See also: Boxes 77, 150, 151, 169, 270, 191
Barcode 704551.
Orchestral work. Full score, photocopies of parts. See also: Boxes 78, 79.
"Affectionately dedicated to Walter Toscanini." Movements: I. All-American City; II. Requiem for a Hero; III. Conventioneer; IV. Cotton Bowl
Orchestral work. Full score, onionskin.
Documentary film score for full orchestra. Score and parts. Two copies of violin I, II, viola, cello. Sketches also present. See also: Boxes 79, 80, 81
Band; parts.
Barcode 704552.
"Narrative poem." Two copies of full score. Parts, some with multiple copies. Narration not present. See also: Boxes 155, 156, 171.
Barcode 704553.
"Narrative poem." Two copies of full score. Parts, some with multiple copies. Narration not present. See also: Boxes 154, 156, 171.
Barcode 704554.
"Narrative poem." Two copies of full score. Parts, some with multiple copies. Narration not present. See also: Boxes 154, 155, 171.
Small orchestra and piano. Full score. Parts, many with multiple copies. See also: Box 157.
Barcode 704555.
Small orchestra and piano. Full score. Parts, many with multiple copies. See also: Box 157.
Solo trumpet with band. Onionskin copies of condensed score and parts.
Sketches.
Barcode 704556.
Orchestral work. Parts; flute I missing; multiple copies of string parts. See also: Boxes 159, 160.
Barcode 704557.
Orchestral work. Parts; flute I missing; multiple copies of string parts. See also: Boxes 159, 160.
Barcode 704558.
Orchestral work. Parts; flute I missing; multiple copies of string parts. See also: Boxes 159, 160.
Band. Condensed score and parts; multiple copies of many parts, onionskin parts of some. See also: Box 161.
Barcode 704559.
Band. Condensed score and parts; multiple copies of many parts, onionskin parts of some. See also: Box 161.
Full film score for orchestra, divided by reel and section number.
Documentary film score for orchestra. Horn part missing. See also: Box 162.
Barcode 704560.
Documentary film score for orchestra. Horn part missing. See also: Box 161.
Orchestral work. Full score and parts. See also: Box 86.
Barcode 704561.
Flute and orchestra or piano. Three copies of flute/piano score, one bound; three copies of flute/ orchestra score, two incomplete. See also: Box 82.
Orchestral work. Parts.
Band with narrator. Full score and parts; onionskin copies of parts. See also: Box 164.
Barcode 704567.
Band with narrator. Full score and parts; onionskin copies of parts. See also: Box 164.
Orchestral work. Full score only.
Orchestral work. Full score only (photocopy).
Barcode 704563.
Orchestral work. Three copies of score; parts, with multiple copies of string parts; program notes by the composer accompany one score. See also: Boxes 126, 127, 183.
Band. Onionskin copy and negatives of full score. Onionskin and copies of all parts. Score with handwritten markings. See also, Boxes 41, 42
Dedicated to Donald E. Johnson.
Two copies of full score; additional copy of first movement; parts; two copies of string parts. See also: Boxes 129, 166.
Barcode 704564.
Dedicated to Donald E. Johnson.
Two copies of full score; additional copy of first movement; parts; two copies of string parts. See also: Boxes 129, 165.
Full score and string parts. Piano part missing.
Orchestra with narrator. Five copies of full score; multiple copies of parts, with onionskin copies. See also: Boxes 129, 130.
Barcode 704565.
Orchestra with harp. Full score, with onionskin copy; onionskin parts. See also: Box 185.
Condensed score, parts (several duplicates); onionskin copies of score and many parts. See also: Boxes 46, 47, 48, 49, 186.
Orchestral work. Two copies of full score, multiple copies of parts; onionskin copies of score and parts. See also: Boxes 134, 135, 136, 137, 138.
Barcode 704566.
Chamber orchestra and narrator. Score and parts; two copies of score. Narrator part missing. See also: Box 69.
Orchestral work. Full score only.
Orchestral work. Two copies and onionskin photocopy of score; two copies of all parts, condensed score for first movement. See also: Boxes 138, 139, 191
Barcode 704568.
One copy of score in better condition than the other.
Orchestral work. Two copies of full score; multiple copies of parts. Onionskin copies of score and parts. See also: Boxes 74, 75, 140, 141
Orchestral work. Sketches, and six copies of full score; multiple copies of all parts. Originals of score and parts also present. See also: Boxes 76, 77, 150, 151, 152, 170, 191
Barcode 704569.
Orchestral work. Sketches, and six copies of full score; multiple copies of all parts. Originals of score and parts also present. See also: Boxes 76, 77, 150, 151, 152, 169, 191
Barcode 704570.
"Narrative poem." Two copies of full score. Parts, some with multiple copies. Narration not present. See also: Boxes 154, 155, 156.
Scores (two unidentified pages), songs (Ant Song, La Flurge, Bletch Duet)
Band. Full score only.
"A brief episode for the stage." Piano/vocal score at the University of South Carolina
1965
Barcode 704571.
Two plastic comb-bound photocopies of conductor's score.
Orchestra with narrator. Two copies of full score, with onionskin copy.
Orchestra with narrator. Two copies of full score, with onionskin copy.
Orchestra with narrator. Two copies of full score, with onionskin copy.
Barcode 704572.
Orchestra with narrator. Two copies of full score, with onionskin copy. 49 drawings of characters, scenes.
Barcode 704573.
Orchestra with narrator. Two c opies of full score; all parts present, multiple copies of percussion and strings.
Barcode 704574.
Opera/oratorio.
Sketches in six spiral notebooks and on looseleaf pages. Three copies of piano/vocal score, and one copy of full score, pages not in order. See also: Boxes 101, 102, 176, 194.
Barcode 704575.
Opera/oratorio.
Sketches in six spiral notebooks and on looseleaf pages. Three copies of piano/vocal score, and one copy of full score, pages not in order. See also: Boxes 101, 102, 175, 194.
Band. Onionskin copy of full score.
Barcode 704576.
Movements: I. Where the West Begins; II. Chamber of Commerce - 32491; III. Prairie Sunset; IV. Bronco Bust; V. Main Street Saturday Night
Orchestral work. Spiral-bound except for second movement (looseleaf)
SATB and orchestra. Full score only.
Orchestral work. Full score only.
Based on the story by O. Henry.
Chamber orchestra, chorus, three soloists. Four copies of full score; two bound, one in sections. Some musical sketches. Seven copies of choral/piano score, some incomplete. One folder of inserts for parts and score. Copies and onionskin pages for all parts. This box: score, parts, and sketches. See also: Boxes 9, 10, 11, 113, 114.
Barcode 704577.
Orchestra with narrator. Three copies of full score; all parts present, multiple copies of percussion and strings.
Barcode 704578.
Multimedia with orchestra. Onionskin copy of full score; score for each act also bound separately. See also: Box 180.
Barcode 704579.
Multimedia with orchestra. Onionskin copy of full score; score for each act also bound separately. See also: Box 180.
Orchestral work. Full score only.
Orchestral work. Complete full score; onionskin copy, possibly incomplete.
Barcode 704580.
Orchestral "sacred dramatic work." Full score with onionskin copy.
Barcode 704581.
Opera. One copy of full score in two volumes.
Band. Full score only.
Full score in binder, looseleaf onion skin copy. "Music drama." See also: Box 193.
Barcode 704582.
Note explains "This was re-titled 'Men of Music' and published by Volkwein Music." Dedicated to Dale C. Harris.
Band. Full score only.
Orchestra with narrator. Two copies of full score, with onionskin copy.
Orchestral work. Three copies of score; parts, with multiple copies of string parts; program notes by the composer accompany one score. See also: Boxes 126, 127, 165.
Barcode 704583.
Onionskin copy of full score.
Band. Full score only.
Orchestra with piano solo. Full score with onionskin copy.
Barcode 704584.
Bourne Co., New York, NY
Band. Complete set with full score and parts; many parts with multiple copies. See also: Box 185.
AATT choir and ensemble. Score.
Later published as Cracker Barrel March
Band. Full score on onionskin paper.
Band. Full score only.
Band. Full score on onionskin paper.
Originally last movement of Symphony No. 2 for Band.
Band. One copy of score; onionskin and paper copies of all parts. See also: Box 45.
Orchestra with harp. Full score, with onionskin copy; onionskin parts. See also: Box 167.
Two copies of full score.
Band with trumpet solo. Full score only.
Barcode 704586.
Condensed score, parts (several duplicates); onionskin copies of score and many parts. See also: Boxes 46, 47, 48, 49, 167.
Two copies of full score.
Orchestrations intended to be combined for larger performances.
Band and orchestra with SATB choir. Four copies of band score, three of orchestral score, all bound, and looseleaf onionskin copies. See also: Box 187.
Barcode 704585.
Orchestrations intended to be combined for larger performances.
Band and orchestra with SATB choir. Four copies of band score, three of orchestral score, all bound, and looseleaf onionskin copies. See also: Box 186.
11.75" x 14.5"
Brass choir. Full score, parts, onionskin copies of all. See also: Box 133.
Compositional exercises (including canons and fanfares); sketches for unidentified works as well as Good Samaritan, The Other Thief, Instant Replay, And It Came to Pass, and As It Was in the Beginning. See also: Boxes 57, 58, 133.
Dedicated to Lloyd Oakland.
Band and score. Onionskin copy of score, loose pages, and spiral-bound copy. One copy of "working" score." Multiple copies of parts. Onionskin vocal score; 35 copies of vocal score, spiral-bound. See also: Boxes 59, 60, 61, 62.
Band. Full score only.
Barcode 704587.
Opera. Score and parts; three bound copies, two onionskin copies of piano/vocal score, and additional unbound copy of Act I. Copies of choral parts and individual character parts. Onionskins and copies of some instrumental parts. Full score of some sections. See also: Boxes 63, 64, 65, 66, 67, 68, 69.
Opera. Two copies of full score, divided by act, scene, or part. See also: Boxes 189, 190
Barcode 704588.
Opera. Two copies of full score, divided by act, scene, or part. See also: Boxes 188, 190
Barcode 704589.
Opera. Two copies of full score, divided by act, scene, or part. See also: Boxes 188, 189.
Orchestral work. Two full copies of score (one in two volumes), additional onionskin copy. See also: Box 191.
Barcode 704590.
Orchestral work. Two full copies of score (one in two volumes), additional onionskin copy. See also: Box 190.
Full score, each movement bound sepearately; onionskin copy.
Orchestral work. Two copies and onionskin photocopy of score; two copies of all parts, condensed score for first movement. See also: Boxes 138, 139, 168.
Orchestral work. Sketches, and six copies of full score; multiple copies of all parts. Originals of score and parts also present. See also: Boxes 76, 77, 150, 151, 152, 169, 170.
Barcode 704591.
Movements: I. All-American City; II. Requiem for a Hero; III. Conventioneer; IV. Cotton Bowl
Band. Onionskin copy of full score.
From Band Concert.
Band. Onionskin copy of full score. See also: Box 153.
Written by John Jeffery Davis, dedicated to Don Gillis.
Band with piano. One copy of full score.
Band. Onionskin copy of full score.
Band. Onionskin copy of full score. See also: Boxes 160, 161.
"A brief episode for the stage." Piano/vocal score at University of South Carolina.
Orchestral score in two volumes.
Barcode 704592.
Full score in binder, looseleaf onion skin copy. "Music drama." See also: Box 82.
Barcode 704593.
Opera / oratorio.
Sketches in six spiral notebooks and on looseleaf pages. Three copies of piano/vocal score, and one copy of full score, pages not in order. See also: Boxes 101, 102, 175, 176.
Barcode 714338.
Chamber orchestra with narrator. Two copies of full score; narrator part missing.
Purchased from Ryan Rowe, Austin, TX.
Manuscript copy, spiral bound. Signed by Gillis and Toscanini. Note on title page from J. Dolan says this item is the copy Toscanini conducted from for the radio performance. Annotations on score. Also included: Laminated copy of unidentified music manuscript page in red ink, Violin B part for Symphony 5 1/2, marked for National Music Camp at Interlochen, MI, dated 1948.
Tray barcode 711613, box barcode 697675.
22 letters
2 lists.
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1972 Meeting, March 1-4, Arlington TX. 9 letters.
1967 Convention, March 1-4, Coral Gables, FL. 3 letters.
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Re: survey. 65 letters.
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Tray barcode 711613, box barcode 697676.
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Tray barcode 711614, box barcode 697677.
24 letters, 2 newspaper clippings, poetry by Everett Gillis.
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Plan for development of a Highway Safety Distress-Signal System (addressed to "Hap")
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8 letters; University of South Carolina's campus newspaper, The Gamecock, issues dated 1974 July 11 and 1974 December 5.
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<span style="color: rgb(0, 0, 0); font-family: arial, sans-serif; font-size: 13px; white-space: pre-wrap;">Tray barcode 711615, box barcode 697680.</span>
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Tray barcode 711616, box barcode 697681.
11 letters, convention program.
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9 letters, business papers, newspaper clipping (photocopy).
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4 letters; Toscanini: The Man Behind the Legend schedules, newspaper clippings.
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43 letters, bound.
Tray barcode 711616, box barcode 697682.
63 letters, radio scripts.
57 letters,business papers, concert programs, newspaper clippings.
Materials regarding the formation of the Institute of Media Arts. 4 letters, business papers, program proposal materials.
46 letters, concert programs, newspaper clippings, business papers.
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Tray barcode 711617, box barcode 697683.
18 letters.
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Now Texas A&M University at Kingsville. 41 letters, concert programs.
12 letters, concert programs, newspaper clippings for event held in 1967 May 1-2 in Austin, TX.
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Tray barcode 711618, box barcode 697685.
Tray barcode 711618, box barcode 697686.
Lincoln, NE.
Tray barcode 711619, box barcode 697687.
"As broadcast."
"As broadcast."
"As broadcast."
Tray barcode 711619, box barcode 697688.
"Final Script," bound.
Folder 1 of 2.
Folder 2 of 2.
Tray barcode 711620, box barcode 697689.
Tray barcode 711620, box barcode 697703.
"USC"
Tray barcode 711621, box barcode 697702.
Empty folder.
Tray barcode 711621, box barcode 697701.
Notebook, bound.
Tray barcode 711622, box barcode 697700.
Originals, for Gillis' office file.
Tray barcode 711622, box barcode 697699.
One typed copy and extra chapters.
Holograph copies of scripts.
Tray barcode 711623, box barcode 697698.
Holograph copies of book chapters.
Manuscript.
Unfinished manuscript.
Manuscript. Published under the titleThe Unfinished Symphony Conductor.
Tray barcode 711623, box barcode 697697.
Printed copy.
Manuscript, title changed froim From Twig to Triumph in 1966.
Manuscript, published asThe Unfinished Symphony Conductor.
Manuscript, published asThe Unfinished Symphony Conductor.
Tray barcode 711624, box barcode 697696.
First typed copies.
First typed copies.
Holograph copies of manuscript.
Tray barcode 711624, box barcode 697695.
Book in process of publication before Gillis' death. It was withdrawn and returned to his wife.
Tray barcode 711625, box barcode 697694.
Tray barcode 711625, box barcode 697693.
Bound typescript of Don Gillis tape transcriptions (See Series 3).
From various points in Gillis' career.
Book listing compositions by Don Gillis
Dissertation by William Fry (University of North Carolina at Greensboro). Also available in Music Library Reference section, ML134.G537 F7 1991a, and through ProQuest Dissertations and Theses (UNT Electronic Resources).
Tray barcode 711626, box barcode 697692.
Manuscript to unpublished autobiography.
Manuscript, chapters 1-6.
Manuscript, chapters 7-14.
Manuscript, chapters 15-23.
Manuscript, chapters 24-30.
Clippings and programs related to specific compositions or organizations; magazines related to Gillis or Toscanini.
Tray barcode 711626, box barcode 697691.
Cyclometrics Overture: original titled Razzle Dazzle, from Symphony No. 2 for Band.
Tray barcode 711627, box barcode 697690.
Tray barcode 711627, box barcode 697704.
Articles from the Gamecock and Carolinian.
Tray barcode 711628, box barcode 697712.
Tray barcode 711628, box barcode 697711.
Tray barcode 711629, box barcode 697710.
Programs 1-13.
Programs 14-26.
Programs 27-39.
Programs 40-52.
Programs 53-68.
Programs 69-82.
Programs 82-94.
Programs 95-107.
Tray barcode 711629, box barcode 697709.
Programs 108-120.
Programs 121-133.
Programs 134-146.
Programs 147-159.
Programs 160-172.
Programs 173-185.
Tray barcode 711630, box barcode 697708.
Broadcast date. See also: Box 33, Folder 8
Broadcast date. See also: Box 133, Folder 6. "Script 57."
Broadcast date. See also: Box 34, Folder 2.
Tray barcode 711630, box barcode 697707.
Broadcast date; program script. See also: Box 33, Folder 5.
Programs 1-13.
Programs 14-26.
Programs 27-39.
Programs 40-52.
Tray barcode 711631, box barcode 697706.
Tray barcode 711631, box barcode 697705.
Written for the America-Italy Society.
Also in the Julius J. Spector Collection, Stanford University Archive of Recorded Sound, Braun Music Center: Box 1, Folder 4.
National Association of Educational Broadcasters (NAEB), Record Series.
Tray barcode 711632, box barcode 697713.
Also available in the UNT Music Library: ML422.T67 M3 1956.
Tray barcode 711632, box barcode 697714.
Autographed by author. Also available in the UNT Music Library: ML422.T67 W6.
This tape contains a brief commentary on Gillis music and philosophy with many musical examples quoted to give the listener a variety of experiences which illustrate a number of compositional attitudes and styles. For anyone intending to make a thorough study of Gillis scores, this is a very good place to start. The narration is done by the composer.
Gillis on Symphony 5 1/2: "I am often asked the question: "Why the fraction -- why 5 1/2 instead of six? "The explanation is simple, actually. When I was writing my sixth symphony, I wrote what I felt to be an appropriate finale, but after I finished it I felt it didn't fit at all. I tried another one and the same thing happened. Neither the mood nor the attitude of these movements seemed to relate to Symphony No. 6 at all. These two movements I had written, however, intrigued, me -- and so I decided to go ahead and finish writing a new symphony, altogether different from the mood I had established in No. 6. I wrote a scherzo and a slow movement and thus completed the new work. Having already three movements of the 6th symphony finished, I didn't want to disturb their numbering system and so it just seemed natural to call the new one 5 1/2, especially since it had been written half way in between five and six. "It was a good decision, for its title caught the eye of Maestro Toscanini and the music on the tape you will hear is his performance by the NBC Orchestra. "Arthur Fiedler gave its premiere with the Boston "Pops" in the summer of 1947 and after revision, Toscanini conducted its radio premiere. The work is also published by Boosey-Hawkes in a band transcription made by Maurice Ford. It was recorded for London Records by the New Symphony of London under the baton of the composer. It has been choreographed by a number of dance companies and, along with 'Tulsa,' 'The Man Who Invented Music,' 'January February March,' and 'Short Overture to an Unwritten Opera,' it is my most frequently performed work." Gillis on Toscanini: Portait of a Legend: "This composition was written to be a personal tribute to Arturo Toscanini with whom I served ten years as producer of the NBC Symphony Broadcasts and about whom I wrote and produced the series 'The Man Behind the Legend' for four-and-a-half years for NBC Radio. "The script was written early in 1967 and the music was completed during the following summer. It was first performed at the Reston (Virginia) Music Camp by Dr. James Christian Pfohl with the composer as narrator. "In this performance, Col. Arnald Gabriel Conducts the U.S. Airforce Symphony Orchestra with the voice of the noted NBC commentator Ben Grauer. Interestingly enough, Col. Gabriel recorded only the orchestral section in Washington, Grauer recorded the voice section in NY, and the production was mixed in Dallas. It has been given public performance on several occasions and broadcast twice during the Toscanini Centennial Memorial Series."
Gillis on The Man Who Invented Music: "In the summers of 1949-50, United States Steel sponsored the NBC Symphony broadcasts. As one of the features of their program, they included a "Children's Corner," during which time-related music was selected. I was asked to provide a work for children and so submitted the script for 'The Man Who Invented Music.' After some revision in collaboration with NBC scriptwriter Claris Ross, the music was completed and had its first performance with Nelson Olmsted as narrator with the NBC Symphony conducted by Antal Dorati. "The music was an instant success and has been performed thousands of times in both its orchestral and band versions. The recording you will hear was done in London with narrator Jack Kilty under the baton of the composer." Gillis on Symphony No. 8, "A Dance Symphony" (I. Jukebox Jive; II. Deep Blues; III. Waltz of Sorts; IV. Lowdown Hoedown) "Immediately after Milton Katims premiered this work with the NBC Symphony, my son, Don, Jr., rushed backstage to say 'Gee, Dad, that was the loudest one yet!' "Also backstage was Arturo Toscanini, who described the work as a 'big brother to Symphony 5 1/2.' Somewhere in between those two instant reactions there if probably a valid conclusion to be drawn indicating that (a) the symphony is rambunctionously [sic] loud, and (b) that it is in the tradition of "fun music" following the pattern set by Symphony 5 1/2. "It is a 'dance' symphony in every sense of the word. It has been danced to by a number of dance companies and, if you feel like it personally, you may dance to it while listening. If you are wearing headphone at the time, however, be careful not to spin around too much -- otherwise you just might get a hang-up about the whole thing. "For those of you interested in orchestration, I commend this work to you for analysis. "Symphony No. 8 did not become the popular item I hoped it would be. It just may have been the fact that the 'symphony' sound was replaced in the first movement by that of a giant jazz ensemble. At any rate, except for broadcast recorded performances, its use by dance companies, and a few performances publicly, it has remained relatively unknown. "I remember one performance, however, which reaffirmed my own faith in its merits. We did a joint concert in Carnegie Hall with Duke Ellington in 1955 called 'Excursions in Jazz.' The Duke liked it as earlier Maestro Toscanini had liked it. Their opinions are good enough for me. "Plus, of course, that of my son's who said: 'It is the loudest one yet.' "One should (especially in academic circles) look at a symphony with more seriousness. I conclude by saying that its form is exceedingly correct, its themes are interestingly valid, and its orchestration is subtle and provocative. As for its future -- well, I still think some conductor ids going to coma long some day and see that it's a great audience piece and well worth programming. In the meanwhile, at least we have it in the this tape recorded by the NBC symphony men under the composer's baton for Rexford Records in New York City."
Movements: I. Production Line; II. Bobby Sox; III. Prayer and Hymn for a Solemn Occasion; IV. Celebration -- 4th of July Gillis: "For years I carried a clipping of a review by a man named White who wrote of Arthur Fiedler's premiere of the Star Spangled Symphony by the San Antonio Symphony Orchestra. Mr. White (who in musical matters reflected the now-famous 'white supremacy' attitude of all critics) found very little to commend about this work. As a matter of fact, it was not until after invecting himself exhaustively against it that he mentioned that the audience gave it a standing ovation which continued so enthusiastically that Mr. Fiedler repeated the final movement as an encore. "I would have premiered the work myself with the NBC Symphony Orchestra had not the network had a curious policy (long since abandoned) that the Star Spangled Banner must always be played in completion over network air. And since I had used fragmental quotes from the anthem in the first movement, it was not permitted to be used for broadcast. "The symphony, much like the fate of the 8th, has not been widely performed. I'm not sure why. It may be because of the difficulty in the first and final movements, or -- and I say this reluctantly -- it just may not be any good. "In the performance you are to hear, the composer is conducting the National High School Orchestra of Interlochen."
Gillis: "The Second Piano Concerto is dedicated to Deems Taylor and was written in New York City in 1965. Its first movement is lyrical, the second in a waltz-ballade style, and the finale is a rowdy galop (interrupted in contrasting mood with a sensuous tango). "It is heard in this performance by the Grand Prairie, Texas, Community Orchestra with the composer conducting. Joseph Kahn, the soloist, was for many years pianist for the NBC Symphony and made solo appearances on the Bell Telephone Hour as well as being a member of the orchestra of the 'Chamber Music Society of Lower Basin Street.' "The work is available on rental through Crescendo Music Service of Dallas."
Gillis on Alice in Orchestralia: "On the second season of sponsorship by United States Steel of the NBC Symphony, I was once again asked to write a work for the 'Children's Corner' portion of the broadcast, the request stemming from the success the previous year of 'The Man Who Invented Music.' "This work was written, using a script prepared by Dr. Ernest LaPrade, author of the book 'Alice in Orchestralia,' which had been used so successfully by music educators in the primary grades. A radio series had also been produced using the book as basis. "Wilfred Peletier conducted the first performance, played by the NBC Symphony during the summer of 1950. "The story is a fantasy in which a different Alice (not the one in Wonderland) goes to a symphony concert and falls into a dream-filled sleep, during which she visits the musical land of "Orchestralia." There she meets the strings in 'Fiddle-a-delphia,' the woodwinds in 'Panapolis,' and the other instruments in 'Brassydale.' The tape you will hear was recorded for Rexford Records in Rome using a cast headed by NBC narrator, Gene Hamilton. The composer is conducting. Gillis on The Raven: "A very long time ago (in 1937 to be exact), Nelson Olmsted (now distinguished actor and story teller) was a staff announcer at radio station WBAP in Forth Worth. At this same time I was a member of the studio orchestra and the staff arranger. When he asked me to prepare a score as background for his reading of Poe's 'The Raven,' I accepted and the work was premiered by Gene Baugh and the WBAP Staff Orchestra on Poe's birthday. I later revised the score for full orchestra and it had its first performance by Dr. Frank Black on a series called 'New American Music,' for which future colleagues of mine, Samuel Chotzinoff and Ben Grauer, were co-hosts. "The work has had innumerable performances. The taped performance you will hear was recorded at a broadcast by the NBC Orchestra in Chicago with Nelson Olmsted as narrator and Dr. Leroy Shields conducting."
Gillis: "During World War II, three members of the TCU band were killed in action, all three of them flute players, all three of them pilots, and all three section partners in the band. It is to their memory that this work is dedicated. "The work was written in 1945 and given its first performance by the NBC Symphony Orchestra with Dr. Frank Black conducting. It is this performance that you will hear on this tape."
Gillis: "Although Symphony No. 6 is sub-titled "The Pioneers," it is not a programmatic work in the sense of telling a story. It does, however, reflect my own mind's portrait of an earlier America during a time of moving westward, or exploring and settling the land, and of adventuresome people looking for a new freedom. "There are four movements, the first and third movements contemplative, the second and final energetic forces. "The work had its premiere at Texas Christian University at a concert of my music in 1948. The performance you are to hear now is by the National High School Orchestra at Interlochen, the composer conducting."
Movements: I. The Vision; II. The People; The Dedication; The Fulfillment Gillis: "In 1948 I was commissioned by Texas Christian University to write a work commemorating the 75th anniversary of the founding of the school. I wrote the music in four sections (to be played without pause) and it had its premiere at Will Rogers Auditorium on June 6, 1948 with Dr. T. Smith McCorkle, Dean of Fine Arts at TCU, conducting. "The performance on this tape is taken from the London Records production by the New Symphony Orchestra of London with the composer conducting in Kingsway Hall, London. "It was on this date that TCU, as part of their commencement exercises, conferred the degree of Doctor of Music in recognition of the creation of the symphony. The work is on rental from Chappell, Inc., New York City."
Gillis on Peter Rabbit: "Among the many scores I have written for narrator and orchestra have been several done especially for children. These include some scripts by John Rust based on the Thorton W. Burgess nature stories. These stories were once familiar items in syndicated newspaper columns as well as in a children's book series. "In this treatment, Mr. Rust is the narrator and the composer is conducting a small orchestra, the recording made for a children's series by London Records. Gillis on Atlanta (I. Our Fair City; II. Stone Mountain; III. Piedmont Park; IV. Plantation Song; V. Peachtree Promenade): "This suite of five movements was commissioned by the Atlanta Music Clubs for performance by the Atlanta Symphony Orchestra conducted by Dr. Henry Sopkin. It is a series of tone pictures depicting the areas suggested by the titles. After its premiere, I recorded it in Rome for Rexford Records, conducted three movements of it on an NBC Symphony broadcast, and re-scored it for band. Mills Music (now Belwin-Mills) published the work. "The term 'choreographic impression' was used descriptively in the title because I visualized its ultimate fulfillment as danced in front of huge rear-projection screens with kaleidoscopic interpretations in motion picture, slides, and special effects light patterns. "The tape you will hear was done in Rome with the Orchestra da Camera conducted the composer."
Gillis on Seven Golden Texts: "Dr. George Reynolds, director of the Dickinson, North Dakota band of Dickinson College, commissioned a work for band, chorus, and narrator of a 'religious nature.' "The full title of the work which emerged was "Seven Golden Texts and a Song of Praise from the Psalms of David." The work is also scored for orchestra and the two orchestrations combine for use with huge festival-type presentations. The first performance was given in Dickinson, North Dakota in 1965 and this tape represents its premiere playing." Gillis on Quintet No. III for Woodwinds (I. Five Piece Combo; II. Take Five Blues; III. A Frolic in B-bop Minor): "This quintet is, as its titles indicate, an excursion in jazz for instruments whose usual combination in quintet formation is that of serious, classical demeanor. Not so in this work! Here they enjoy three sessions of fun in an altogether unusual medium. "The performance you are to hear was done by the Woodwind Quintet of the Interlochen Arts Academy under the supervision of Don Jaeger. The work is published by Belwin-Mills, N.Y."
Gillis on This Is Our America: "The morning after Pearl Harbor, December 8, 1941, I wrote the substance of this work. Melvin Dacus, then a student, sang its first performance at chapel at TCU on December 10, 1941. After a few performances, the piece was put aside and not until the mid-fifties was it thought of again. Asked by Rexford Records to do a patriot cantata (their request supported by Mills Music), I composed the work in its present form, utilizing many of the materials I had originally written in 1941. "It was recorded by Rexford Records and later re-scored for band. Col. Samuel R. Loboda, conductor of the U.S. Army Band, recorded this version with Capt. Allen Crowell as the soloist." Gillis on His Name was John: "In this illy-balanced [sic] recording taken from a performance at Dallas Baptist College, Nelson Olmsted narrates the words written by the composer about the last moments in the life of John the Baptist." Gillis on Quintet No. I for Woodwinds: "This work is sub-titled 'The Tortoise and the Hare,' with its three movements depicting the age-old fable of the big race. "The work is published by Belwin-Mills and is performed on this tape by the Interlochen Arts Academy Woodwind Quintet."
Movements: I. Rumplestilskin; II. Snow White; III. The Sleeping Beauty; IV. The Three Bears; V. Cinderella Gillis: "Script and music for these fairytales was done in 1966 as a project for Storykin Dolls. As a project it was not wildly successful; however, these six fairy tales (plus one other which has not yet been recorded) are among the 'sometime-to-be-done' orchestrations which the composer plans to do for full orchestra. The sixth fairy tale not included on this tape will be found on Reel Number 14, band 1."
Gillis on Six Fairy Tales (VI): "This is the sixth fairytale in the children's series described in the program notes in Reel 13. Gillis on The Amon G. Carter March: "During my days as TCU Band Director, Amon G. Carter, publisher of the Fort Worth Star Telegram, was one of the band's most ardent supporters. He liked to direct the band and we liked to have him direct the band -- because almost always afterwards he would pull out a hundred dollar bill and we would split it up among the members. So it naturally followed that I would write a march with his name on it which he conducted from there on out. Other than that bit of fascinating information, I can think of nothing else to say about the march that that it now reposes in the Library of Congress among a hundred or so other manuscripts of mine." Gillis on The Panhandle Suite (I. Cattle Gate; II. Dance of the Dry Bones; III. Night Rider; IV. Bronc Bust; V. Stampede): "The tape you are about to hear was recorded several years ago while I was band director at Texas Christian. While I am not exactly sure of the date, I think the broadcast took place in 1937 or 1938. Nelson Olmsted was announcer for this WBAP 'Backstage with the TCU Band' series. The work was originally written for orchestra and completed during by senior year in college in 1935, forming part of the requirements for my Bachelor of Music recital. It was later scored for band and heard in this version in band format. "The tape you are to hear is filled with clicks and electrostatic pops, largely because it was dubbed from the original acetate transcription made at the time of the broadcast. However, as befits a tape of this vintage, it is now in that category of sound sometimes called by sonic aficionados as 'heritage.' "Listen carefully, and somewhere in between the static you may hear 'The Panhandle Suite.'"
Gillis on Intermission -- Ten Minutes: "This work, written in 1943, was premiered by North Texas State University's Symphony Orchestra under the baton of Dr. Floyd Graham. The work is dedicated to a long-time friend of mine from TCU days, Dr. Patrick Henry. It was the composer's notion that since all concerts have ten minute intermissions, it would be logical to write some music describing that portion of a concert in which there is no music at all. "The piece begins as if the first half of a concert were just ending in "Classical" style, following which we \hear first the rustle of the audience as it prepares to 'intermish' and then the parade to the lobby. This is followed by the Dance of the Self-Appointed Critics and then the martial music parades the audience back to their seats again. The orchestra tunes up, a fanfare announces the return of the conductor, and then the second half of the concert resumes as if a contemporary work were beginning. And -- it finishes with a surprise ending. "This performance is by the University of Texas Symphony Orchestra in 1967, Andor Toth conducting." Gillis on To an Unknown Soldier" "This symphonic poem is programmatic, yet not descriptively so. It was written as a personal reflection upon the universal heroism wasted in causes as useless as war. It is not, however, as much a protest as it is a proclamation of grief spoken in behalf of all who give their lives in battle. "The work is somber, but there are moments which say what might have been for unknown soldiers had they not fallen." Gillis on Portrait of a Frontier Town (I. Chamber of Commerce; II. Where the West Begins; III. Ranch House Party; IV. Prairie Sunset; V. Main Street -- Saturday Night): "Would you believe that this suite was once named 'Cowtown?' Well, it was, but Boosey-Hawkes (who publishes it) felt that a more dignified title that Fort Worth's nick-name 'Cowtown.' So it was changed, even after Milton Katims and the NBC Symphony had given its premiere under the 'Cowtown' title. "One movement in particular has caught on, as it were, having been used for 'encore' materials by a number of symphony conductors, including Arthur Fiedler and Thor Johnson. It has been made into a ballet by the Winnepeg Ballet under the title 'Les Whoops de Doo' and has had many successful playings in its band arrangement (done by Glen Cliff Bainum). In the recording you are to hear, the New Symphony Orchestra of London is playing under the baton of the composer."
Gillis on Abe Lincoln -- Gettysburg, 1863: "This score is a setting for band and narrator of Lincoln's Gettysburg commemorative words. The tape you will hear was made by the U.S. Army Band, Col. Samuel R. Loboda conducting, with Capt. Allen Crowell as narrator." Gillis on Men of Music: "This overture for band was commissioned by the American School Band Directors Association (ASBDA) as a tribute to its founder, Dale Harris. The first performance was done by Dr. Donald McGinnis and University of Ohio Symphonic Band. The work is published by Volkwein. In this performance, Col. Samuel R. Loboda is conducting the United States Army Band." Gillis on Downbeat -- A Fable for Band: "Downbeat is a gentle satire on several things -- and besides, is a sneaky way to teach you a few things about instruments and styles while having a pleasant experience at the same time. It was originally part of a work titled 'Band Concert' and had its premiere at Interlochen with the composer conducting and Dr. John Sargent narrating. In this performance, Capt. Allen Crowell is again the narrator with the U.S. Army band under the baton of Col. Samuel R. Loboda."
Gillis on A Short Overture to an Unwritten Opera: "The Short Overture was written in 1945 and was first heard on the NBC broadcast 'Music for To-Night' conducted by Milton Katims. It was soon after published by Boosey-Hawkes and became my first 'popular' composition, largely through the performances of it by Sigmund Romberg and his Orchestra. "The opera for which it was 'unwritten' is still unwritten. "The orchestral version was recorded for Boosey-Hawkes Sound Library and the band version was done by the U.S. Army Band in a still-unpublished arrangement by Sgt. 'Red' Kirbey. "Note: In each instance the music on this reel is presented in both orchestral and band performance, the orchestral first, the band next." Gillis on Bing Bang Bong: "This short score was commissioned by NBC for its 25th anniversary and performed on a special musical salute with the composer conducting the NBC Symphony Orchestra. The performance for Orchestra you are to hear was done at Carnegie Hall by the Symphony of the Air. The band arrangement is published by Belwin-Mills and is performed here by the U.S. Army Band." Gillis on Tulsa, A Symphonic Portrait in Oil: "The First National Bank of Tulsa, Oklahoma commissioned this music to be played the opening of their new bank building at the dedication ceremony on July 29, 1950. It is dedicated to the bank and to conductor H. Arthur Brown of the Tulsa Philharmonic. Mr. Brown recorded this work with the Vienna Philharmonic and almost started World War III as a result. "There is a section in Tulsa calling for gun shots. Mr. Brown had gone to the provost-general's office in Vienna to get permission to fire blank cartridges during the recording session. Vienna at that time was still an occupied territory and the Brahms Hall was right across the street from the Russian command. When the musicians arrived on the morning of the recording session, they noticed a number of tanks and mobile artillery armored cars lined up -- all with their guns pointing at the hall. In a panic, lest the noise of the blank cartridges lead the Russians to think that they were under attack, the poor musicians begged the conductor not to fire the guns. He complied -- thus probably averting World War III for a few years. "The story is true enough; however, I don't believe the Russians would have really bombarded the building just because a 32-caliber blank pistol signaled the opening of the land rush. "Meanwhile (back at the business of telling you about what is in the piece), the work had little or no success until it was transcribed for band by Maurice Ford, then assistant leader of the U.S. Navy Band. "The work is divided into four sections: (a) the land before the people, (b) the Sooners, (c) the oil fields, and (d) celebration dance and shirt-tail parade. "The orchestral performance is by the Chicago Symphony Orchestra and the band version is played by the University of Michigan Band, William Revelli conducting."
Gillis on Cathedral Square: "This work was written originally as a part of a series of music-for-sound-track library services, one of approximately twenty-five pieces. Most of the others, or fragments of them, have been incorporated in one way or another into other works. This one remains as written, a tonal portrait of a medieval cathedral. It is scored for small orchestra." Gillis on Silhouettes: "This trio for violin, cello, and piano was written for the NBC Trio in 1947 to be used as part of its regular Sunday morning broadcast series. This performance you are to hear (amid the scratches and pops of a vintage recording) was played by Daniel Guilet (violin), Nam Benditzky (cellist), and Joseph Kahn (pianist). "While the electrostatic noises on the tape are somewhat distracting, the performance itself is one of the most artistically secure of any tape in this collection. " The work is published by Belwin-Mills." Gillis on Symphony No. 1: "Symphony No. 1, 'An American Symphony,' was written as partial fulfillment of requirements for a Master of Music degree in composition at North Texas State University in 1941. "After it was given its premiere performance by Floyd Graham and the NTSU Symphony Orchestra, the slow movement was broadcast the following day and this recording made. "Although it, too, is filled with 'static' pops and clicks, we should forgive those distractions to study NTSU's 1942 broadcast performance. "The full score is on deposit at the NTSU library and pictures and additional program notes are in possession of Dr. Graham in Denton." Gillis on Paul Bunyon -- A Portrait of a Legend [Note: There are two performances of this work, the first for orchestra, the second for band.]: "This brief score was commissioned by William Yarborough, conductor of a touring chamber group called "Orchestra on Wheels." It is meant as a tribute to one of America's legendary folk heroes. The work was written in the late 1960's and first performed by Mr. Yarborough (who is conducting the orchestra on the first performance band-tape). The second performance on this reel is by the U.S. Navy Band at the American Band masters Convention at Columbus, Ohio on February 28, 1970."
Gillis on The Frontiersman: Shortly after the initial success of 'Tulsa,' I was asked to do a series of tone portraits about other cities and areas significant to our nation's history. I wrote this score without designating any particular area, rather visualizing and paying tribute to those who explored and conquered America's frontiers. "The work is published by Southern Music, Inc. of San Antonio." Gillis on Portrait of a City Made of Steel: "This score, commissioned in 1966 by the Northfield School District High School Band conducted by Warren Mercer, was written about Pittsburg. It has no exact descriptive program; however, it does permit the listener to create his own mental images by reflective thought upon the sights and sounds suggested by the music which implement the portraiture. "This performance is by the Northfield School District High School Band at its premiere performance March 14, 1967." Gillis on Lone Star: "I think of all of the works I have written for band, this is one of the most completely satisfying to me. It is played in this instance by the U.S. Army Band with the composer conducting. It is about Texas, of course, but it is not programmatic music. "The work is published by Southern Music, Inc. of San Antonio."
Gillis on Three Sketches for Strings (I. Enchantment; II. Day Dreams; III. Whimsey): "It is curious how works emerge from manuscript to print. These pieces were originally part of a suite for string quartet titled 'Seven Sketches for Strings,' written for private performance at a party held at the home of the concertmaster of the Chicago NBC Staff Orchestra in 1944. Later, Boosey-Hawkes selected three from the seven after they had been re-scored for string orchestra, publishing them in 1946 and recording them in the version we will hear now. "Two of the other "original seven" formed the basis for the 2nd and 3rd movements of the 8th Symphony, and still another one, 'Scherzino for Strings,' is published by Belwin-Mills. The 7th is still in my files waiting its turns." Gillis on Night Song: "'Night Song' is actually the slow movement from my 2nd Symphony for Band, a work I completed and then discarded because I felt the need for a form other than 'symphony' (which relates more to the orchestra" in which to express a major musical work for band. It is music in a quiet, contemplative mood." Gillis on Strictly for Strads: "Dr. Joseph E. Maddy of National Music Camp asked me to write some music for the string orchestra there. I did, composing this as well as "Soliloquy" for strings to be performed under his baton." Gillis on Soliloquy for Strings: "As indicated above, these two works for string orchestra are normally performed together, the order of which is left to the conductor. Both works were published by Interlochen Press and are now distributed by Crescendo Music Service in Naperville, Illinois. "The performances of both pieces were done at Interlochen with Dr. Maddy conducting." Gillis on The Night Before Christmas: "As early as 1938, station manager George Cranston of WBAP (Ft. Worth) asked for a setting for narrator and orchestra of Clement Moore's 'A Visit from St. Nicholas.' The work was done initially for the WBAP Staff Orchestra and then re-scored for full orchestra for subsequent performances at NBC. Incidentally, it was done each Christmas Eve for about fifteen years by NBC and the tape you will hear is from one of the Chicago performances under the baton of Joseph Gallichio." Gillis on So They May Also Learn: "The Montana Music Educators' Association commissioned a work for band and narrator in honor of retiring educator Lloyd Oakland. The script is a tribute to all teachers. The work is recorded here by the Great Falls High School Band in October of 1968."
Gillis on Ceremony of Allegiance: "Commissioned by Kansas State Teachers' College at Emporia, Kansas, for their annual Band Day 1965, this work uses a narrator with band to speak words from the Declaration of Independence and the Pledge of Allegiance. Published by Kjos, Inc., Chicago, the work has had thousands of performances. It is recorded here by the U.S. Army Band with Capt. Allen Crowell narrating and Col. Samuel R. Loboda conducting." Gillis on Streamliner: "This is a work for brass choir in my favorite instrumentation: six trumpets, four horns, three baritones, three trombones, and one tuba. The work is programmatically related to its title. "It is heard in this taped performance by the brass choir of the Cincinnati Conservatory of Music, Ernest Glover conducting." Gillis on Quintet for Woodwinds, No. II: "The 2nd Quintet was written while I was band director at Texas Christian University in about 1939-40. There are three brief movements. "The work is published by Belwin-Mills. Gillis on Sinfonia for Brass in Three Movements: "Scored in the same instrumentation indicated in 'Streamliner,' this work was commissioned by Phi Mu Alpha, Sinfonia and premiered at a national convention in Cincinnati. I don't remember who did the performance you are about to hear, but whoever it was didn't do a very good job of it."
Gillis on The Touchtone Concerto: "For the Media Arts Festival at Dallas Baptist College, I decided to write a concerto for four touchtone telephones (their output amplified) plus pre-recorded sounds from telephone bells, busy signals, etc., and the Dallas Baptist Studio Group. "On this tape you will hear the composer's introduction to the three-movement work first, then follows the actual performance by the instrumental soloists. The whole event was a tongue-in-cheek contrivance which definitely disproves the old theory that you can't make a silk purse out of a sow's ear. Or is that the other way around? "Anyway, the use of pre-recorded music, the amplified sound of four touchtone telephones, plus the live musicians added zest to the 'media' factor in a 'Media Arts Festival.'" Gillis on Music to Listen to Announcements in Airports By: "This is a 'media' composition -- and other than the fun of it, not too much else is accomplished. The music on the tape is from Peachtree Promenade and Bobby Sox, the voices were those of friends of mine at NBC. The script was written after an airport stopover in Minneapolis during which I became aware that there was constant music -- yet nothing ever was heard in completion because of the announcement of the planes." Gillis on Herman, the Frog Who Sang at the Met: "This is a frothy bit I once whipped up to illustrate the use of cue music with narrator, a sort of "education through entertainment" concept that proves its thesis well, however zanily. "Most of the music on the tape (with the exception of the operatic bit and the Strauss polka) was excerpted from my own music. The part of Symphony Sam was played by an NBC friend of mine, Gene Garnes, who also assisted in some of the weird electronic effects and the final mix-down."
Gillis on Symphonic Poem: The Alamo: "The Alamo was written as a personalized reaction to the Texas symbol of freedom. It was given its premiere in San Antonio by Dr. Max Reiter and the San Antonio Symphony and in this version was recorded by Dr. Joseph E. Maddy and the National High School Orchestra of Interlochen. "The first sketches for this score were made with the band in mind and an early version had its premiere by the Baylor University Band conducted by Dr. Gid Waldrop in 1942. The work was greatly revised later and cast into orchestral form and had its premiere performance on March 6, 1949. A copy of the full orchestral score is on deposit at the NTSU library." Gillis on Thomas Wolfe, American: "The work is in five sections, three of which involve script: The Geographical America; Orchestral Interlude; The Well-Remembered Things of America; Orchestral Interlude; An American Credo. "Commissioned by Thor Johnson for performance by the Cincinnati Symphony Orchestra, this score is for narrator and orchestra. The words are all from writings about America by Thomas Wolfe, put into script form by the composer from Wolfe's novels and short stories. "The performance you are about to hear is the premiere performance of the work by Dr. Thor Johnson and the Cincinnati Symphony Orchestra."
Gillis: "On May 12, 1957 the premiere performance of "The Park Avenue Kids" took place in Elkhart, Indiana, with the Elkhart Civic Theater and the Elkhart Symphony Orchestra under the baton of Zigmund Gaska. This tape is an recording of that performance. "It is a comic opera, a comedy about a group of teenagers in New York City who call themselves the Park Avenue Kids. This is not the slickly rich area of Park Avenue, but rather the uptown district where people live on 'both sides of the tracks.' Our youngsters, with the exception of one, Mary, are boys, and their newest big ambition is to get into show business via the country-western hillbilly route. Fingers Flynn, a two-time loser from Sing Sing, interrupts a meeting in their clubroom. Flynn wants to use their clubroom as a hideout since (at the moment) he is being inconveniently chased by the NY police for a robbery. The Kids do not know him and are easily persuaded that he is a big Broadway producer who has come up to upper Park Avenue to audition them. His true identity is discovered by Mary, who, in the end, captures him single-handedly and turns him over to Clancy the Cop. Mary envisions all sorts of fame for herself because of her heroism and decides to organize her own band since Tex, the boys' leader, doesn't want her around. Finally, however, they decide to stick together, and the work ends on a happy note as they announce rehearsal for the 'New Park Avenue Kids.' "This work was my first attempt in creating dramatic music. I make no judgement on its value except to say that I am proud of it and wish it could be heard more often. "Its genesis began when my own son, Don, Jr., organized a similar 'band' with the stated ambition to get into big-time broadcasting. Years later he made it as he continues to write and conduct in Canadian radio and television. Perhaps the opera will also make it some day. Its reception by audiences at Interlochen and Elkhart indicate their hearty approval of the work. Even the critics were kind."
Gillis: "On May 12, 1957 the premiere performance of "The Park Avenue Kids" took place in Elkhart, Indiana, with the Elkhart Civic Theater and the Elkhart Symphony Orchestra under the baton of Zigmund Gaska. This tape is an recording of that performance. "It is a comic opera, a comedy about a group of teenagers in New York City who call themselves the Park Avenue Kids. This is not the slickly rich area of Park Avenue, but rather the uptown district where people live on 'both sides of the tracks.' Our youngsters, with the exception of one, Mary, are boys, and their newest big ambition is to get into show business via the country-western hillbilly route. Fingers Flynn, a two-time loser from Sing Sing, interrupts a meeting in their clubroom. Flynn wants to use their clubroom as a hideout since (at the moment) he is being inconveniently chased by the NY police for a robbery. The Kids do not know him and are easily persuaded that he is a big Broadway producer who has come up to upper Park Avenue to audition them. His true identity is discovered by Mary, who, in the end, captures him single-handedly and turns him over to Clancy the Cop. Mary envisions all sorts of fame for herself because of her heroism and decides to organize her own band since Tex, the boys' leader, doesn't want her around. Finally, however, they decide to stick together, and the work ends on a happy note as they announce rehearsal for the 'New Park Avenue Kids.' "This work was my first attempt in creating dramatic music. I make no judgement on its value except to say that I am proud of it and wish it could be heard more often. "Its genesis began when my own son, Don, Jr., organized a similar 'band' with the stated ambition to get into big-time broadcasting. Years later he made it as he continues to write and conduct in Canadian radio and television. Perhaps the opera will also make it some day. Its reception by audiences at Interlochen and Elkhart indicate their hearty approval of the work. Even the critics were kind."
Gillis: "On May 12, 1957 the premiere performance of "The Park Avenue Kids" took place in Elkhart, Indiana, with the Elkhart Civic Theater and the Elkhart Symphony Orchestra under the baton of Zigmund Gaska. This tape is an recording of that performance. "It is a comic opera, a comedy about a group of teenagers in New York City who call themselves the Park Avenue Kids. This is not the slickly rich area of Park Avenue, but rather the uptown district where people live on 'both sides of the tracks.' Our youngsters, with the exception of one, Mary, are boys, and their newest big ambition is to get into show business via the country-western hillbilly route. Fingers Flynn, a two-time loser from Sing Sing, interrupts a meeting in their clubroom. Flynn wants to use their clubroom as a hideout since (at the moment) he is being inconveniently chased by the NY police for a robbery. The Kids do not know him and are easily persuaded that he is a big Broadway producer who has come up to upper Park Avenue to audition them. His true identity is discovered by Mary, who, in the end, captures him single-handedly and turns him over to Clancy the Cop. Mary envisions all sorts of fame for herself because of her heroism and decides to organize her own band since Tex, the boys' leader, doesn't want her around. Finally, however, they decide to stick together, and the work ends on a happy note as they announce rehearsal for the 'New Park Avenue Kids.' "This work was my first attempt in creating dramatic music. I make no judgement on its value except to say that I am proud of it and wish it could be heard more often. "Its genesis began when my own son, Don, Jr., organized a similar 'band' with the stated ambition to get into big-time broadcasting. Years later he made it as he continues to write and conduct in Canadian radio and television. Perhaps the opera will also make it some day. Its reception by audiences at Interlochen and Elkhart indicate their hearty approval of the work. Even the critics were kind."
Movements: I. The Land and The People; II. The Planting' III. The Fields in Summer; IV. Threshin' Bee; V. Harvest Celebration Gillis: "The Land of Wheat was commissioned by Nels Vogel of Nels Vogel Music Co., Moorhead, Minnesota and its premiere took place at the store's annual clinic with Col. Chester Whiting conducting the U.S. Army Field Band. The work is published by Kjos, Inc. Of Chicago. "The work is programmatic in the sense that its titles reflect moods and activities. The 4th movement, 'Threshin' Bee,' is descriptive in its attempt to portray the realism of the old-time threshing machine. "The tape you will hear is that of the premiere performance conducted by Col. Whiting."
Gillis on Overture: America's Gifted Youth: "This overture really isn't an overture at all. It is reality the first movement of my 2nd Symphony for Band (which I discarded in symphony form for reasons expressed earlier). I gave the title "America's Gifted Youth" to the work in appreciation to National Music Camp and included it as the first movement of a major band form which I called 'Band Concert.' Altogether I included ten movements in the work, intending to make it into the form following the usual programming pattern of a band concert. That choice of 'form' also failed, largely because conductors do not usually want to devote a complete concert to the work of a single composer. "Thus the 'Band Concert' form was also eliminated and the sections now appear as individual compositions." Gillis on The Junior Hi-Fi March: "This is a good march but a rotten title. It was also originally part of the 'band concert' form written for performance at Interlochen. On this tape reel, items A, B, D, E, F, G, and H were all recorded by the U.S. Army Band with Col. Samuel R. Loboda conducting. " Gillis on Music for Strings: Adoration at Eventide: "A very simply piece in a meditative mood, this work was written first for performance with the strings of the Junior Camp division at Interlochen. It is published by Belwin-Mills and is heard in this performance by the strings of the Salt Lake City Community Orchestra of Westminster College." Gillis on March: Mr. Big: "I wrote a number of marches in an extended form in order to get away from the traditional march pattern. This is one of my personal favorites because its 'I know it all' attitude describes so many people I know." Gillis on Footsie: "Everyone plays footsie at some time or another and so it seemed logical that if I wrote a composition by that name it also might be played. I'm happy to report that it has been. It is a simple, bluesy-type piece originally a part of the "band concert" format." Gillis on March: The Mighty Mac: "Over the straits of Mackinaw (at least it's pronounced that way even if it is spelled Mackinac) there was a mighty bridge built. At its dedication the Interlochen High School Camp Band was invited to play. It was for this occasion that this march was written." Gillis on Rompin' Stomp: "This work is, as you will see when you hear it, an attempt to transform the standard band sound into that of the Big Band sound of the 30's and 40's." Gillis on March: Unistrut: "In 1958 at the inception of the Interlochen Press, Mr. Charles Attwood, president of the Unistrut Corporation of Wayne, Michigan, commissioned a march to bear his company's name. His generous gift of monies to underwrite the Interlochen Press beginnings was incentive to comply with his request. The march is in non-traditional form and takes advantage more of concert presentation than field use." Gillis on January February March: "In 1945 I wrote this march as part of the NBC program called "Music for To-Night," conducted by Milton Katims. It was a spoof, a fun-poking attitude toward the standard march. It proved to be that, but more, for it became very popular both with bands and orchestras. "It was published by Boosey-Hawkes and is available in both the band and orchestral arrangement."
Gillis on Happy Jack: This work is a story for children based on the Thorton W. Burgess nature stories with script and narration by John Rust. It was originally recorded by London Records with thirteen instrumentalists conducted by the composer. The work is no longer available." Gillis on Music for 36 Trumpets: "Written originally as part of a trumpet quartet, Mr. John Haynie of North Texas State University included it on a program featuring 'massed' trumpets. The quartet is published by Boosey-Hawkes." GIllis on Music To Be Incidental By: "When I was doing my series for National Educational Radio, I included a section in several of the broadcasts in which I delivered what I called "left-handed" lectures, i.e., materials which would teach but which were not the customary profundities perpetrated by the academic crowd on subjects relating to music. It is, all in all, a serious bit on incidental music. Most of the cue music represented was excerpted from music I had written for other occasions. Enjoy it."
Gillis on Suite from "Twinkletoes" (I. Twinkletoes; II. Mandarin Dance; III. Vim Vigor and Velocity; IV. Temple Dance, V. Tango Lullaby): "Several years I wrote music for what I thought was a most touchingly beautiful ballet: a little crippled girl had an ambition to dance. Her grandfather assures her that if she will allow herself to undergo surgery, she will be able to fulfill her ambition. She does so, and while under anesthesia, she dreams of the great success she has while dancing all over the word. And, of course, when she awakens, she is on the road to recovery and ultimate stardom as a ballerina. A good story, right? Indeed -- the only trouble was that an almost identical story had been used before. And so I scrapped my idea for doing a ballet, salvaging some of the music to be put into a suite of five short pieces. "Most of the music you will hear was recorded in Rome. Mandarin Dance was recorded by a studio orchestra in New York. The orchestral music has not been published, however. Belwin-Mills has published all but Mandarin Dance for band." Gillis on Symphonic Poem: Amarillo: "I seem always to be writing music about places or cities: Portrait of a Frontier Town (Ft. Worth), Portrait of a City Made of Steel (Pittsburg), Tulsa -- A Symphonic Portrait in Oil, and . . . Amarillo. "It was Dr. A. Clyde Roller who suggested that I write a work about the city in which he was resident symphony conductor in 1962. When the work was completed, he gave its world premiere on October 2, 1962. The work is subtitled: "A Symphonic Celebration" and was commissioned as part of the 75th anniversary of the city. "The work is in four movements, each section marked by a slight pause, and each movement inter-related by thematic materials. The movements are descriptive and the score calls for prepared sound tapes including the sounds of Indians on the warpath, gunshots, the arrival of the U.S. Cavalry, the sound of an old train, etc. "I must confess that I like the piece, although it has not in any sense been played much. "The work is on rental from Crescendo Music, Inc., Dallas, Texas."
Gillis: "The music drama 'The Nazarene' is a religious work, the story for which came to me suddenly one morning in 1965 while I was living in New York City. The piano-vocal score was completed that same year, the orchestration a year later. "It was not until the spring of 1969, however, that the premiere took place. During the Arts Festival of that year, held annually on the campus of Dallas Baptist College, Nazarene was performed twice with William Pickett as the crippled beggar, Ezra. The following summer it was done at Ridgecrest, North Carolina, and Glorietta, New Mexico as part of the music week of the Baptist Encampment schedule. It was published by Broadman Press of Nashville, Tennessee. "Since its original presentation, it has had approximately fifty separate productions all over the United States and almost twice that number of performances. "The story concerns itself with the unusual association of five people who were involved in one way or another with the crucifixion and resurrection of Christ. The setting is an inn which stands just outside the walls of Jerusalem on the road to Golgotha, The Sign of the Skull. "The story opens early on the morning of the resurrection as Joanna (one of the inn-keeper's daughters) talking with Ezra as they listen to the wailing of the nearby followers of Jesus who have hidden themselves away outside the city. Both Amos, the inn-deeper and his other daughter, Rebecca, are much annoyed at the constancy of the grief, and he is particularly is bitter because business has failed completely since the crucifixion. In one way or another, all have been a part of the vents of the life of Jesus: Ezra, the crippled beggar, was in Bethlehem at the time of the annunciation and his legs were destroyed by a cruel beating given to him by the soldiers of Herod who were set on killing children and who, thinking he had warned Joseph and Mary, caused him never to be able to walk again. Joanna and Rebecca were caught up in the crowd and swept into the courtyard of Caiaphias, the High Priest, hearing and seeing the trial of Jesus. "Amos, their father, has actually been to see the Crucifixion take place, buying the robe from the robe from the soldiers. "When Mary Magdalene appears to them in ecstasy because she has seen the risen Lord, they think she is crazy. One by one they go, however, to help the Nazarenes who now rejoice at the news that their Master has risen. Ezra is healed by a miracle, and hearing the voice of Jesus say, "Follow Me," goes also to join the Nazarenes. "The work is scored for full orchestra, an unseen chorus, and a cast of five. A single set is used throughout. The work is one act and plays approximately an hour and thirty minutes. The unusual circumstances surrounding its inspiration and the subsequent effects of its performances on its audiences lead me to believe firmly that it was of God. Had I written nothing else in my lifetime, my purpose for being would have been accomplished."
Gillis: "The music drama 'The Nazarene' is a religious work, the story for which came to me suddenly one morning in 1965 while I was living in New York City. The piano-vocal score was completed that same year, the orchestration a year later. "It was not until the spring of 1969, however, that the premiere took place. During the Arts Festival of that year, held annually on the campus of Dallas Baptist College, Nazarene was performed twice with William Pickett as the crippled beggar, Ezra. The following summer it was done at Ridgecrest, North Carolina, and Glorietta, New Mexico as part of the music week of the Baptist Encampment schedule. It was published by Broadman Press of Nashville, Tennessee. "Since its original presentation, it has had approximately fifty separate productions all over the United States and almost twice that number of performances. "The story concerns itself with the unusual association of five people who were involved in one way or another with the crucifixion and resurrection of Christ. The setting is an inn which stands just outside the walls of Jerusalem on the road to Golgotha, The Sign of the Skull. "The story opens early on the morning of the resurrection as Joanna (one of the inn-keeper's daughters) talking with Ezra as they listen to the wailing of the nearby followers of Jesus who have hidden themselves away outside the city. Both Amos, the inn-deeper and his other daughter, Rebecca, are much annoyed at the constancy of the grief, and he is particularly is bitter because business has failed completely since the crucifixion. In one way or another, all have been a part of the vents of the life of Jesus: Ezra, the crippled beggar, was in Bethlehem at the time of the annunciation and his legs were destroyed by a cruel beating given to him by the soldiers of Herod who were set on killing children and who, thinking he had warned Joseph and Mary, caused him never to be able to walk again. Joanna and Rebecca were caught up in the crowd and swept into the courtyard of Caiaphias, the High Priest, hearing and seeing the trial of Jesus. "Amos, their father, has actually been to see the Crucifixion take place, buying the robe from the robe from the soldiers. "When Mary Magdalene appears to them in ecstasy because she has seen the risen Lord, they think she is crazy. One by one they go, however, to help the Nazarenes who now rejoice at the news that their Master has risen. Ezra is healed by a miracle, and hearing the voice of Jesus say, "Follow Me," goes also to join the Nazarenes. "The work is scored for full orchestra, an unseen chorus, and a cast of five. A single set is used throughout. The work is one act and plays approximately an hour and thirty minutes. The unusual circumstances surrounding its inspiration and the subsequent effects of its performances on its audiences lead me to believe firmly that it was of God. Had I written nothing else in my lifetime, my purpose for being would have been accomplished."
"The Libretto is a comic opera in one act about a composer who wants to write an opera but can't find a libretto -- and his wife who tries to help him find one. "The words are somewhat autobiographical, in a sense, for finding a libretto is indeed a tough job. In my own instance, I learned to write them myself. In the instance of Bill Emmett, our composer in the opera, he had only the assistance of his wife Jan and her long list of ways to put a proper book together for operatic purposes. "The work was first produced in Dallas at the convention of the National Opera Association in 1960. The production company was North Texas State's School of Music and Eugene Conley's opera workshop. "John Rosenfield gave it a rave review and Mr. Conley's group performed it a number of times. "In the production we will hear, the orchestra of the U.S. Army Band conducted by Col. Gilbert is heard. The work is on rental through Crescendo Music, Inc. in Dallas."
"The Libretto is a comic opera in one act about a composer who wants to write an opera but can't find a libretto -- and his wife who tries to help him find one. "The words are somewhat autobiographical, in a sense, for finding a libretto is indeed a tough job. In my own instance, I learned to write them myself. In the instance of Bill Emmett, our composer in the opera, he had only the assistance of his wife Jan and her long list of ways to put a proper book together for operatic purposes. "The work was first produced in Dallas at the convention of the National Opera Association in 1960. The production company was North Texas State's School of Music and Eugene Conley's opera workshop. "John Rosenfield gave it a rave review and Mr. Conley's group performed it a number of times. "In the production we will hear, the orchestra of the U.S. Army Band conducted by Col. Gilbert is heard. The work is on rental through Crescendo Music, Inc. in Dallas."
Gillis: "One of my big ambitions was always to write an opera about Texas. So I contrived a story about Texas back in 1886 in a town I invented called Star Valley Junction. I filled the town with both good guys and bad guys, and my story included almost every cliche that one ever heard of in Western stories, movies and television shows. "Since the plot of the opera is contained on these audition tapes, I will not go into it here except to say that star Valley Junction is a full-fledged Texas opera still waiting its chance to be premiered. "The tapes you will hear were made to 'audition' the show for prospective producers."
Gillis: "One of my big ambitions was always to write an opera about Texas. So I contrived a story about Texas back in 1886 in a town I invented called Star Valley Junction. I filled the town with both good guys and bad guys, and my story included almost every cliche that one ever heard of in Western stories, movies and television shows. "Since the plot of the opera is contained on these audition tapes, I will not go into it here except to say that star Valley Junction is a full-fledged Texas opera still waiting its chance to be premiered. "The tapes you will hear were made to 'audition' the show for prospective producers."
Gillis: "Pep Rally is an opera in once act, two scenes, first performed August 15, 1957 at the National Music Camp in Interlochen with Barre Hill as producer and the cast, chorus, and band under the baton of Dr. George C. Wilson. "That's right, band. Pep Rally is, as far as anyone is able to find out, the first opera ever to be scored for band instead of orchestra. "It is a 'spoof' of American college life, concerning itself with the activities on campus the night before the big championship football game. The action takes place at the Varsity Shop where the students gather, and football hero Johnny Meer is the subject of a 'frame' by gamblers to get him off the team so it can't possibly win. "With the assistance of his fiance, Terry Brown, and the campus "brain," electronics whiz Billy Buster, the plot is foiled and the whole thing ends happily with a pep rally that predicts victory for the home team. "The tape being heard here is of the premiere performance at Interlochen. The work is on rental by Crescendo Music, Inc. Of Dallas."
Gillis: "Pep Rally is an opera in once act, two scenes, first performed August 15, 1957 at the National Music Camp in Interlochen with Barre Hill as producer and the cast, chorus, and band under the baton of Dr. George C. Wilson. "That's right, band. Pep Rally is, as far as anyone is able to find out, the first opera ever to be scored for band instead of orchestra. "It is a 'spoof' of American college life, concerning itself with the activities on campus the night before the big championship football game. The action takes place at the Varsity Shop where the students gather, and football hero Johnny Meer is the subject of a 'frame' by gamblers to get him off the team so it can't possibly win. "With the assistance of his fiance, Terry Brown, and the campus "brain," electronics whiz Billy Buster, the plot is foiled and the whole thing ends happily with a pep rally that predicts victory for the home team. "The tape being heard here is of the premiere performance at Interlochen. The work is on rental by Crescendo Music, Inc. Of Dallas."
Gillis: "Pep Rally is an opera in once act, two scenes, first performed August 15, 1957 at the National Music Camp in Interlochen with Barre Hill as producer and the cast, chorus, and band under the baton of Dr. George C. Wilson. "That's right, band. Pep Rally is, as far as anyone is able to find out, the first opera ever to be scored for band instead of orchestra. "It is a 'spoof' of American college life, concerning itself with the activities on campus the night before the big championship football game. The action takes place at the Varsity Shop where the students gather, and football hero Johnny Meer is the subject of a 'frame' by gamblers to get him off the team so it can't possibly win. "With the assistance of his fiance, Terry Brown, and the campus "brain," electronics whiz Billy Buster, the plot is foiled and the whole thing ends happily with a pep rally that predicts victory for the home team. "The tape being heard here is of the premiere performance at Interlochen. The work is on rental by Crescendo Music, Inc. Of Dallas."
"Let Us Pray is a multi-media essay for orchestra, chorus, narrators, soloists, and pantomimists. It was first performed at Dallas Baptist College under the baton of the composer. The tape being heard here was done during the summer of 1973 using a small orchestra. Prior to its premiere at Dallas Baptist in full media, it had had an initial performance at Texas A&I University in 1970. "The work involves itself into a great variety of presentational media forms including slides, over-lay pre-recorded audio tape, film, stage action, etc. Essentially it is a dialogue between an older man and a boy with the fundamental subject matter being prayer. "The work is published by Crescendo Music, Inc. of Dallas, and a copy of the score is deposited with the NTSU Music Library."
"Let Us Pray is a multi-media essay for orchestra, chorus, narrators, soloists, and pantomimists. It was first performed at Dallas Baptist College under the baton of the composer. The tape being heard here was done during the summer of 1973 using a small orchestra. Prior to its premiere at Dallas Baptist in full media, it had had an initial performance at Texas A&I University in 1970. "The work involves itself into a great variety of presentational media forms including slides, over-lay pre-recorded audio tape, film, stage action, etc. Essentially it is a dialogue between an older man and a boy with the fundamental subject matter being prayer. "The work is published by Crescendo Music, Inc. of Dallas, and a copy of the score is deposited with the NTSU Music Library."
Gillis on Five Acre Pond: "In the tape of Five Acre Pond you will hear, Don Jaeger will be the oboe soloist with the Faculty-Staff Orchestra of National Music Camp under the baton of Dr. A. Clyde Roller. "The work is a pastorale, its title taken from the name of the 'old swimming hole' of my youth in Cameron, Missouri. It is scored for strings, harp, celeste-piano, percussion, and solo oboe." Gillis on Dialogue for Trombone and Band: "I played trombone for many years, both as student and then professionally. Probably this factor was the genesis of my wanting to write a piece which was out of the tradition of the usual little fonky [sic] piece which trombone students were handed to study. At any rate, the work does have a feeling of jazz and its lyrical middle part is one of the finest things I have done. In the recording we are to hear, my brother Lewis Gillis is the soloist with the Texas Christian University Horned Frog Band. The trombone-piano version is published by Belwin-Mills." Gillis on Rhapsody for Trumpet: "The great 'Doc' Severinsen is soloist on this performance of the Rhapsody for Trumpet. The orchestra is the All-City Orchestra of the Dallas Public Schools. "The work is in four short movements, played without pause. It has also been scored for band and had its initial performance by Dr. Douglas Smith in that version. It is on rental through Crescendo Music, Inc. in Dallas."
Gillis on Shindig: "When I wrote Shindig for production by the Fort Worth Civic Ballet, I did not realize that I had a hit on my hands. Actually the hit didn't come from Ft. Worth, but rather through the choreography of Lloyd Tyget and the American Festival Ballet Company. They performed the score almost five hundred times in South America, North Africa, and in all of the major cities of Europe. The work has also been mounted by a number of American companies, but it was the American Festival Ballet Company which gave it whatever fame it now has. "The story is that of the traditional problem of the old Western towns: the bad guys take over, the good guys try to restore law and order. Here the attitude is one of gentle satire with much of the action played for comedy, yet in no sense making fun of the age-old Western traditions. "The recording you are to hear is one made during a broadcast of the NBC Symphony Orchestra from the Belasco Theater in 1953 with the composer conducting. The work is also recorded by the Hamburg Symphony Orchestra. The music is available on rental from Belwin-Mills, New York." Gillis on Saga of a Pioneer (I. The Land Beyond; II. The Pioneers; III. Song of Memory; IV. Centennial Celebration): "The recording of Saga of a Pioneer you will hear is by the University of Illinois band. It was commissioned for the Gunnison Music Camp on the occasion fo the 100th anniversary of the state of Colorado. "The work is scored for symphonic band in traditional instrumentation and is published by Southern Music Company of San Antonio."
Gillis: "The Gift of the Magi is an opera for Christmas based on O. Henry's short story with script and music by Don Gillis. It is scored for small orchestra, chorus, and a cast of three. It uses a single set traditionally; however, it is designed to be performed either very simply or as elaborately as the production forces allow. "In this performance the University of Michigan orchestra, chorus, and soloists are under the baton of Dr. Maynard Klein in a special radio performance commissioned by the National Educational Radio Network. The work is also produced by the South Carolina Educational Television Network. "Its first performance was by Texas Weslyan College opera workshop production conducted by my brother, Lewis D. Gillis. It has had innumerable productions. The work is published by Crescendo Music Co., Dallas, and a copy of the score is on deposit in the NTSU Music Library."
Gillis on Four Scenes from Yesterday (I. North Harris; II. Courthouse Square; III. From a Winter's Dream; IV. Brushy Creek): "The performance you will hear on this tape is by the Interlochen Arts Academy Orchestra with the soloists selected from the students there. The orchestra of strings, celeste-piano, percussion, and harp are conducted by Dr. George C. Wilson.The work, a series of woodwind solo pieces scored for chamber orchestra, was written -- one at a time -- for performance by Milton Katims on an NBC series "Music for Tonight," with members of the NBC Symphony Orchestra as soloists. It was published by Boosey-Hawkes (except for "Brushy Creek," which has not yet been released) for both solo-piano and full score. "Its first performance was by Walter Hendel at Chataqua." Gillis on The Coming of the King: "Norman Vincent Peale wrote a children's version of the Christmas story published by Prentice-Hall. That publisher contacted Mills Music and the result was a cantata for Narrator and chorus in a full setting of the book contents plus a carol for which the words were written by the composer. It was recorded for Columbia Records with David Wayne as narrator and the gothic Choir conducted by Ralph Hunter with Ashley Miller at the organ. "The work had its initial television performance by the Cathedral of St. John the Divine with Bishop Pike as narrator. It is scored for full orchestra."
Gillis on Hymn and Prayer for Peace: "This brief choral work was written as a personalized utterance to express hope and belief that peace could be found. It was recorded by the Mormon Tabernacle Choir in an album called 'Hymns and Songs of Brotherhood.' "The work is published by Crescendo Music Service, Naperville, Illinois." Gillis on Symphony "X", "Big D" (I. All-American City; II. Requiem for a Hero; III. Conventioneers; IV. Cotton Bowl): "There are two versions of this symphony presented on this reel: first, the orchestral performance recorded by the Northern Virginia Youth Orchestra, James Christian Pfohl conducting, and the other by the U.S. Army Band under the baton of the composer. "Symphony 'X' was written originally for performance by the Alabama Youth Symphony at Auburn University and performed there during the summer of 1967. "It is sub-titled "Big D" because it is a work about Dallas, Texas. "It had its first performance by band at the convention of the American Bandmasters Association in Arlington, Texas in 1970, and the work (in band form) is published by Boosey-Hawkes."
Gillis on Cracker Barrel March: "The Cracker Barrel March was written at Interlochen and first performed there. Its title was suggested by the name of a 'country store' by that name near National Music Camp. It is published by Belwin-Mills." Gillis on Three Time Blues: "Three Time Blues was originally one of the movements of the 'band concert' work, a slow blues for solo trumpet written in three instead of the customary four-beat blues. It is played here by the National High School Band at Interlochen." Gillis on Bayou Song: "Bayou Song is still another of the 'band concert' movements, a quiet retrospective tone portrait of tranquility in a Southern setting." Gillis on Recipe in Rhythm: "Recipe in Rhythm was the final movement, originally, of the Second Symphony for Band. This performance is by the U.S. Army Band with the composer conducting." Gillis on Hymn Song for Sunday: "Hymn Song for Sunday is a short tone poem reflective of the Sunday morning time when most people take time to meditate upon their God." G illis on Minuet-cetera: "Minuet-cetera was originally the 3rd movement of the now-discarded Second Symphony for Band. It is, as you will hear in this performance by the U.S. Army Band, a minuet which keeps interrupting itself." Gillis on Cyclometrics Overture: Neil Kjos, the publisher of this work, didn't like my original title for it, which was 'Razzle Dazzle,' wanting a more 'contemporary' title. The original title was more reflective of the mood of the piece; however, the cyclometric aspect also describes it well in the constance of the recurrence of the thematic materials." Gillis on This Solemn Hour: "While most of my music for band is considered to be 'hard' to play (and to some, also hard to listen to", this is a very simply piece. Originally part of the 'band concert' format, it is published by Interlochen Press and distributed through Crescendo Music Service of Naperville, Illinois." Gillis on Variations on a Kitchen Sink: "Imagine, if you will, a collection of utensils from the family kitchen in the hands of individual soloists who are being conducted (along with the band) by a man with a chef's hat on his hand and a ladle for a baton. This is the envisioned scene for any production of Variations on a Kitchen Sink. "The work is a fun piece and has been widely performed and really should be subsized [sic] by all those folks who make skillets, pots and pans, and kitchen-wear. "The performance you will hear here is by the Interlochen Junior High Band with the chief percussionist Jack McKenzie supervising the ladles and all. "It was published by Interlochen Press and is distributed by Crescendo Music Service."
Gillis on Piano Concerto No. I, "The Encore Concerto": "The Encore Concerto was originally conceived to be a companion piece for concert pianists who were playing one of the Mozart of similar-type concerti of shorter nature. Thus this concerto is quite short itself, the playing time being about seventeen minutes. "It is not a bravura concerto, although it does require virtuosity to play. The first movement is a quick-moving work that seems to vacillate between the classicism of its presumed companion piece (the Mozart, etc.) and a contemporary idiom. "The second movement is a blues and the finale is again a rapidly-moving tempo. "The recording you are to hear was made some years back in the Navy Band Loft in Washington, the orchestra of the Navy Band playing with Joseph Kahn as soloist. "At one point the composer made a transcription for band, using the organ as solo instrument instead of piano -- later deciding that the piano version was highly superior. The band arrangement, however, serves well as the accompaniment body. "The work is on rental from Crescendo Music, Inc. of Dallas. Gillis on Rhapsody for Harp and Orchestra: "In 1952 at the Belasco Theater in New York City, it was my privilege to conduct the NBC Symphony Orchestra in a program of my own music. Of the works selected to be played, the one which perhaps received the greatest acclaim was the Harp Rhapsody. "Edward Vito was the reason, I think, for this great harpist played the premiere performance with tremendous artistry. It is this performance that you will hear on our tape. "The Rhapsody has had a number of performances in Europe with the harpist of the BBC Symphony Orchestra and at National Music Camp with Kleinstuber as soloist. "It is on rental from Crescendo Music, Inc. of Dallas."
Gillis: "In the strictest sense, this is not a 'composition' but rather an arrangement of Christmas music recorded by RCA for distribution through the Readers Digest Record Club. "RCA's assignment was to write a setting in stereo to fill both sides of a 33 1/3 RPM. The instrumentation was to be left to me. "I chose a double band (for right and left channels) with chorus, organ, and woodwinds in the middle and brasses and percussion on either side. "I chose to set my instrumentation of this Celebration of Christmas in a rather unusual combination of chorus, double brass and percussion choirs, woodwinds, organ, harp, piano, and celeste. "The music was scored for a stereo session held in Kingsway Hall in London. It was recorded for RCA's Readers Digest Record Club. The main requirement was that the work be divided into two 'sides' in length and that it contain only non-copyright materials. "The scoring was done during the summer of 1962 in Traverse City, Michigan and recorded the following summer. It is not, in the strictest sense, a 'composition,' rather an immense transcription and fantasy based on familiar Christmas tunes. "I commend this work to students interested in band scoring. "The work is available for rental from Crescendo Music, Inc., Dallas, Texas."
Movements: I. Cameron Junction; II. The Pleasant Years; III. Uncle Walt's Waltz; IV. Fall Festival Gillis: "Among the rather unusual happenings to this work is its premiere in Joliet, Illinois -- for it was conducted by four separate conductors, each taking a different movement. "The work was written at the suggestion of William Sandburg, then publisher of Educational Music Services of New York. "He invited me to write a work for band with no restrictions on scoring or technical difficulties. The work was later transferred to Interlochen Press where two movements (the 2nd and 3rd) were printed. "It is an introspective work in that Cameron, Missouri was my home town and the titles all reflect memories I have of this most pleasant of small Missouri towns. "The performance you will hear is by the U.S. Army Band with the composer conducting."
Numbered DG101. Contents: Introduction; Hector Berlioz: Roman Carnival Overture; Intermission interview with David Sarnoff, about bringing Toscanini back the the United States for the NBC orchestra. Ben Grauer commentary. Introduction of Peter Ilich Tchaikovsky's Piano concerto No. 1.
Numbered DG102. Contents: Peter Ilich Tchaikovsky: Piano concerto No. 1 - Vladimir Horowitz, piano.
Numbered DG103. Contents: Introduction; Giuseppe Verdi: Overture to La forza del destino; Amilcare Ponchielli: Dance of the Hours; pause; Interview with tenor Giovanni Martinelli.
Numbered DG104. Contents: Introduction; Ottorino Respighi: Feste Romane.
Numbered DG105. Contents: Introduction; Excerpt from November 1949 rehearsal of Edward Elgar's Enigma Variations; Carl Maria von Weber's Overture to Der Freischutz; Conclusion: Ben Grauer interview with Eugene Ormandy, conductor of the Philadelphia Orchestra.
Numbered DG106. Contents: Edward Elgar: Enigma Variations.
Numbered DG107. Contents: Giuseppe Verdi: Aida, up to intermission.
Numbered DG108. Contents: Interview with Mrs. Elearnor Belmont (wife of August), founder and President Emeritus of Metropolitan Opera Guild; final scene from Aida; Tribute to Toscanini by Consul General of Italy to New York.
Numbered DG109. Contents: Introduction; John Philip Sousa: Stars and Stripes Forever; George Gerswhin: American in Paris - introduction and performance.
Numbered DG110. Contents: Recollections of Toscanini; Ferde Grofe: The Grand Canyon Suite; Toscanini's arrangement of the Star-Spangled Banner; Closing remarks.
Numbered DG111. Contents: Introduction; Wolfgang Amadeus Mozart: Symphony No. 40 in G Major, K. 550; Intermission
Numbered DG112. Contents: Interview with Harold Taubman; Rehearsal of Sergei Prokofiev's Classical Symphony; Closing remarks.
Numbered DG113. Contents: Introduction; Anatoly Lyadov: Kiki Mora; Interview with Mrs. Lionello Perera; Introduction of Modest Mussorgsky's Pictures at an Exhibition.
Numbered DG114. Contents: Introduction; Mussorgsky's Pictures at an Exhibition.
Numbered DG115.Contents: Introduction; Richard Strauss: Don Juan.
Numbered DG116. Contents: Interview with Carl Glassman; Maurice Ravel: Daphnis et Chloe; Concluding remarks.
Numbered DG117. Contents: Gioachino Rossini: Overture to Semiramide; Interview with cellist Gregor Piatigorsky.
Numbered DG118. Contents: Robert Schumann: Symphony No. 3, "Rhenish"; Closing remarks.
Numbered DG119. Contents: Introduction; Gioachino Rossini: Overture to Il signor bruschino; Georges Bizet: Carmen Suite No. 1; Emile Waldteufel: Skater's Waltz, arranged by Toscanini.
Numbered DG120. Contents: Interview with wrestler Antonino Rocca; Niccolo Paganini: Moto perpetuo; Carl Maria von Weber: Invitation to the Dance.
Numbered DG121. Contents: Introduction; Ludwig van Beethoven: Egmont Overture; Interview with Richard Moore, director of Red Seal division of RCA Victor; Finale to Beethoven's Symphony No. 5, performed by La Scala Orchestra and recorded in December, 1920 in Camden, New Jersey for Victor Talking Machines.
Numbered DG122. Contents: Ludwig van Beethoven: Symphony No. 5; Closing remarks.
Numbered DG123. Contents: Ludwig van Beethoven: Leonore Overture No. 3; Conversation with Al Walker, Toscanini's personal assistant of 18 years.
Numbered DG124. Contents: Joseph Haydn: Symphony No. 88; Rehearsal excerpts showing Toscanini's vocal demonstrations for musicians.
Numbered DG125. Contents: Introduction; Richard Wagner: Prelude to Act III of Lohengrin; Wagner: "Dawn" and "Siegfried's Rhine Journey" from Die Gotterdammerung; Intermission, interview with Jimmy Dolan, NBC Orchestra librarian.
Numbered DG126. Contents: Richard Wagner: Prelude to Act III of Die Walkure; Prelude to the Kiss of Death from Tristan und Isolde; Closing remarks.
Numbered DG127. Contents: Introduction; Johannes Brahms: Variations ona Theme of Haydn; Recollections of Toscanini with Alfredo Antonini, NBC musical director and conductor of the Tampa Symphony Orchestra.
Numbered DG128. Contents: Rehearsal excerpts and performance of orchestral suite from Zoltan Kodaly's opera Hary Janos; Closing remarks.
Numbered DG129. Contents: Introduction; Giuseppe Verdi: highlights from Falstaff; Recollections of rehearsals with Maestro Toscanini with singer Norman Scott.
Numbered DG130. Contents: Giuseppe Verdi: Falstaff, Act III, Scene 2; Concluding remarks.
Numbered DG131. Contents: Gioachino Rossini: William Tell Overture; Johann Strauss II: Blue Danube Waltz; Introduction of Andre Kostelanetz, friend and colleague of Toscanini.
Numbered DG132. Contents: Andre Kostelanetz discusses Toscanini's memory, rehearsals, contacts with Toscanini, personality, other recollections; Johannes Brahms: Hungarian Dances; Jean Sibelius: Finlandia; Closing music.
Numbered DG133. Contents: Ottorino Respighi: The Pines of Rome; Closing remarks. Whereabouts of part 1 are unknown.
Numbered DG134. Contents: Introduction; Carl Maria von Weber: Oberon Overture; Prelude to Engelbert Humperdinck's Hansel und Gretel; Intermission: Conversation with Leslie Epstein.
Numbered DG135. Contents: Introduction of Franz Schubert's Symphony No. 5; Conclusion; Closing remarks.
Numbered DG136. Contents: Introduction; Giussepe Verdi: Te Deum with Nicola Moscona and the Robert Shaw Chorale; Recollections of Toscanini's relationship with Verdi on the 150th anniversary of Verdi's birth.
Numbered DG137. Contents: Rehearsal excerpts, commentary of Walter Toscanini and Lionello Perera; Libera me from Giuseppe Verdi's Requiem; Closing remarks.
Numbered DG138. Contents: Ludwig van Beethoven: Symphony No. 9, first movement; Intermission, interview with Samuel Chotzinoff; Conversation with Mischa Mischakoff, Samuel Chotzinoff, Edward Block, and Richard Moore about Toscanini and Beethoven's Ninth Symphony.
Numbered DG139. Contents: Giuseppe Verdi: La Traviata.
Numbered DG140. Contents: Introduction; Ludwig van Beethoven, Symphony No. 9, fourth movement, conducted by Arturo Toscanini; Closing remarks.
Numbered DG141. Contents: Intermission interview with Robert Merrill; Giuseppe Verdi: highlights from Act III of La Traviata; Closing remarks.
Numbered DG142. Contents: Introduction: Camille Saint-Saens: Danse macabre; Hector Berlioz: Queen Mab Scherzo from Romeo and Juliet; Intermission, interview with photographer Robert Hupka.
Numbered DG143. Contents: Alfredo Catalani: Dance of the Water Nymphs; Paul Dukas: Sorcerer's Apprentice; Conclusion, closing remarks.
Numbered DG144. Contents: Peter Ilich Tchaikovsky: Romeo and Juliet; Conversation with Aaron Copland about American and European musical styles.
Numbered DG145. Contents: Peter Ilich Tchaikovsky: selections from the Nutcracker Suite; Commentary about Toscanini's programming of Tchaikovsky's works; Finale from Tchaikovsky's Symphony No. 6; Closing remarks.
Numbered DG146. Contents: Introduction: Richard Wagner: Prelude to Act I of Die Meistersinger; Excerpts from NBC Symphony Orchestra debut concert, conversation with Samuel Chotzinoff, NBC Director of Music and Toscanini biographer.
Numbered DG147. Contents: Ludwig Van Beethoven: Symphony No. 8; Closing remarks.
Numbered DG148. Contents: Ludwig Van Beethoven: highlights from Act I of Fidelio.
Numbered DG149. Contents: Interrmission commentary by soprano Lotte Lehmann; Ludwig van Beethoven: highlights from Act II of Fidelio; Closing remarks.
Numbered DG150. Contents: Introduction; Richard Wagner: The Forest Murmurs from Siegfried; Intntermission, interview with soprano Rose Bampton; Return from intermission.
Numbered DG151. Contents: Richard Wagner: Prelude to Parsifal; Interview segments; Closing music.
Numbered DG152. Contents: Gioachino Rossini: Overture to La Gazza Ladra; interview with conductor Howard Barlow.
Numbered DG153. Contents: Joseph Haydn: Symphony No. 101, "The Clock." "DG" numbering ends with this item.
Contents: Introduction; Cesar Franck: Psyche and Eros; Bedrich Smetana: The Moldau; interview with Ira Hirschmann, friend of Toscanini.
Contents: Ottorino Respighi: The Fountains of Rome; Don Gillis, producer, discusses the program and its listeners, Toscanini history and collection; Closing remarks; Closing music.
Contents: Introduction; Franz Schubert: Symphony No. 8 ("Unfinished"); Ben Grauer.
Contents: "mistake"; Intermission interview with operatic bass Jerome Hines; Richard Wagner: Siegfried Idyll; Conclusion.
Contents: Introduction; Peter Ilich Tchaikovsky: excerpts from The Nutcracker Suite; Intermission conversation with Marcia Davenport.
Contents: Interview clips with David Sarnoff, Mischa Mischakoff, Joseph Kahn, Carl Glassman, and Marcia Davenport; Wolfgang Amadeus Mozart: Symphony No. 40 in G minor, K. 550; Closing remarks.
Contents: discarded track; Introduction; Ludwig Van Beethoven, String Quartet No. 16 in F major, Op. 135 - third and second movements; Intermission, interview with Eugenia Gale, personal secretary to Toscanini and his family.
Contents: Ludwig van Beethoven: Leonore Overture No. 3; Samuel Barber: Adagio for Strings
Contents: Claude Debussy: Images pour orchestre, II. Iberia.
Contents: Personal recollections by Walfredo Toscanini, Arturo Toscanini's grandson; Richard Wagner: Death and funeral from Die Gotterdammerung; Closing remarks; comments from librarian Jimmy Dolan, Lottie Lehmann; Eugene Ormandy, and David Sarnoff; Closing music.
Contents: Carl Maria von Weber: Overture to Euryanthe; Alfredo Catalani: Prelude to Act IV of La Wally; interview with Milton Katims, conductor, on Toscanini's influences and his own recollections; discussion of tempo, rehearsals, conducting techniques, and personal memories.
Contents: M.I. (Mikhail Ivanovich) Glinka: Kamarinskaya; Richard Strauss: Til Eulenspiegel.
Contents: Ludwig van Beethoven: Consecration of the House; discussion with Winifrid Pelletier.
Contents: Wolfgang Amadeus Mozart: Divertimento No. 15 for 2 Horns and Strings, K. 287.
Contents: Ludwig van Beethoven: Coriolan Overture; interview with Ania Dorfmann, recounting her first meeting with Toscanini, performances, recordings, and other recollections.
Contents: Ludwig van Beethoven: Piano concerto No. 1 in G Major, Op. 15; Conclusion.
Contents: Franz von Suppe: Poet and Peasant Overture; interview with recording engineer John Corbett.
Contents: Felix Mendelssohn: Symphony No. 4, Op. 90 ("Italian Symphony").
Contents: Introduction; Richard Wagner: Faust Overture; Intermission, interview with conductor Frank Brieff; Beethoven Symphony No. 5; Conclusion.
Contents: Giacomo Puccini: highlights from Acts I and II of La Boheme - 50th anniversary performance.
Contents: Interview with Madame Licia Albanese, with her recollections of working with Toscanini on La Boheme, and at home; Giacomo Puccini: highlights from Acts III and IV of La Boheme; Closing remarks.
Contents: Luigi Cherubini: Anacreon Overture; NBC Radio Executive Vice President William K. McDaniel addresses the the public and discusses the program, Best Music Program of 1963; Bernard Wagenaar discusses his second symphony, rehearsal techniques, and personal recollections; Cherubini: Symphony in D Major; Closing remarks.
Contents: Johannes Brahms, Academic Festival Overture; Christoph Willibald Gluck: Overture to Iphigenie en Aulide; Intermission, interview with George Marek about new album of Toscanini conducting overtures; Wolfgang Amadeus Mozart: Overture to Don Giovanni; Brahms: Tragic Overture.
Contents: Giuseppe Verdi: highlights from Acts I and II of Un Ballo in Maschera; pause for station identification.
Contents: Interview with Don Gillis on the death of Rosa Raisa; excerpts of Ben Grauer's interview with Raisa; continued highlights from Giuseppe Verdi's Un Ballo in Maschera.
Contents: Giuseppe Verdi: Overture to La Forza del Destino; interview with Robert Wogan, NBC radio vice president in charge of programming; Alfredo Catalani: Dance of the Water Nymphs.
Contents: "Toscanini: the Parma years"; Giuseppe Martucci: Novelletta; Interview with Walfredo Toscanini; Conclusion.
Contents: Gioachino Rossini: L'italiana in Algeri - April 14, 1950 recording at Carnegie Hall; Intermission, interview with Francis Robinson of the Metropolitan Opera.
Contents: Ludwig van Beethoven: Symphony No. 4; Conclusion.
Contents: Domenico Cimarosa: Overture to Il matrimonio segreto; Claude Debussy: Prelude to the Afternoon of a Faun; Intermission, interview with Bruno Zirato, managing director of the New York Philharmonic.
Contents: Wolfgang Amadeus Mozart: Symphony No. 35.
Contents: Gaetano Donizetti: Overture to Don Pasquale; Intermission, interview with Peter Wilhousky, former director of choral rehearsals.
Contents: Giuseppi Verdi: Act IV of Rigoletto.
Contents: Jean Sibelius: The Swan of Tuonela; "The Eloquent Baton" feature.
Contents: Maurice Ravel: Daphnis et Chloe Suite; Conclusion.
Contents: Luigi Cherubini: Requiem in C Minor: I. Introit and Kyrie; II. Graduale; III. Dies Irae.
Contents: Interview with Dave Garroway; continuation of Luigi Cherubini's Requiem in C Minor, beginning with IV. Offertorium.
Contents: Felix Mendelssohn: Overture to A Midsummer Night's Dream; interview with Walter Legge - director of the Philharmonia Orchestra.
Contents: Richard Wagner: Die Walkure, Act I, Scene III, performed February 24, 1941 by the NBC Orchestra, under the direction of Arturo Toscanini.
Contents: Giuseppe Verdi: I vespri siciliani; interview with Edwin Bachman, friend of Toscanini and longtime orchestra member.
Contents: Felix Mendelssohn: Symphony No. 5, "The Reformation."
Contents: Robert Schumann: Overture to Manfred; Interview with conductor Herbert Grossman; Responses to listener mail; pause for station identification; Peter Ilich Tchaikovsky: Manfred Symphony, first two movements.
Contents: Luigi Cherubini: Ali Baba Overture; Giuseppe Verdi: Trio from Act III of I Lombardi.
Contents: Interview with soprano Vivian Della Chiesa; Giuseppe Verdi: Hymn of the Nations.
Contents: Hector Berlioz: Roman Carnival Overture; M.I. (Mikhail Ivanovich) Glinka: Kamarinskaya; Interview with Dr. Harold Spivacke, chair of the Library of Congress Music Division.
Contents: Claude Debussy: La Mer; clips of interviews from preceding year of programs, including Lotte Lehmann, Howard Taubman, Milton Katims, Morton Gould, Eugene Ormandy, and David Sarnoff
Contents: Introduction; highlights from a 1952 rehearsal of Richard Strauss' Tod und Verklarung (Death and Transfiguration); performance of Tod und Verklarung; Conclusion.
Contents: Dmitri Kabalevsky: Colas Breugnon Overture; Interview with Leonard Meyers, NBC orchestra press secretary.
Contents: Modest Mussorgsky: Pictures at an Exhibition; Closing remarks.
Contents: Introduction; Giochino Rossini: Overture to The Barber of Seville; Richard Strauss: Overture to Til Eulenspiegel; Conclusion.
Contents: Introduction; Amilcare Ponchielli: Dance of the Hours; interview with Guilherme Figueiredo.
Contents: Rehearsal for Giuseppe Verdi's Aida; story of Toscanini's early conducting career in 1886. Disc would not play.
Contents: Franz von Suppe: Poet and Peasant Overture; Hector Berlioz: Rakoczy March; interview with Dorothy Gordon (includes Gordon singing "Fa La Nanna"); Zoltan Kodaly: Hary Janos Suite; Closing remarks.
Contents: Joseph Haydn: Symphony No. 94 in G ("Surprise" Symphony); interview with Mishel Piastro; Peter Ilich Tchaikovsky: Romeo and Juliet; closing remarks
Contents: Ottorino Respighi: Fountains of Rome; interview with soprano Herva Nelli; Giuseppi Verdi: excerpts from Aida, A Masked Ball, and Otello; Closing remarks.
Contents: Ludwig van Beethoven: Egmont Overture; Wagner: The Forest Murmurs from Siegfried; interview with Paul Creston; Franz Schubert: Symphony No. 8 in B minor ("Unfinished"), movements I and II.
Contents: Jean Sibelius: Finlandia; Johannes Brahms: Hungarian Dances; Johann Strauss II: Blue Danube Waltz; interview with Edith Kusterman; Paul Dukas: The Sorcerer's Apprentice; Johann Strauss II: Tritsch Tratsch Polka.
Contents: Richard Wagner: Prelude to Act III of Lohegrin; Bedrich Smetana: The Moldau; Interview with David Hall; Wolfgang Amadeus Mozart: Symphony No. 40 in G Minor.
Contents: Sergey Prokoviev: Symphony No. 1; Carl Maria von Weber: Invitation to the Dance; interview with Franco Colombo (former president of Recordi).
Contents: Richard Wagner: Prelude to Act III of Lohegrin; Bedrich Smetana: The Moldau; Interview with David Hall; Wolfgang Amadeus Mozart: Symphony No. 40 in G Minor. Label duplicates contents of Number 63.
Contents: Gioachino Rossini: Overture to La Gazza Ladra; interview with Oreste Di Sevo; Robert Schumann: Symphony No. 3, "Rhenish."
Contents: Antonin Dvorak: New Worrld Symphony, movements I and II; interview with Elie Siegmeister; New World Symphony, movements III and IV; Closing remarks.
Contents: Ottorino Respighi: Fountains of Rome; interview with director Bern Meyer; Meyer's interview with Respighi's widow, Elsa Respighi; Respighi: Pines of Rome.
Contents: Ludwig van Beethoven: Egmont Overture; Interview with Winifred Cecil; Johannes Brahms: Hungarian Dances; Englebert Humperdinck: Prelude to Hansel und Gretel; Wolfgang Amadeus Mozart: Symphony No. 35 in D major ("Haffner").
Contents: Rehearsal excerpts from Hector Berlioz' Queen Mab Scherzo from Romeo et Juliette; performance of Queen Mab Scherzo.
Contents: Introduction: Giuseppe Verdi: Overture to La Forza del Destino; Interview with Jan Peerce; performances by Peerce in Giacomo Puccini's La Boheme and La Traviata; Closing.
Contents: Introduction; Amilcare Ponchielli: Dance of the Hours; Johannes Brahms: Variations on a Theme By Haydn; Closing.
Contents: Introduction; Claude Debussy: Nuages; Tour of Toscanini's Riverdale home with Walter Toscanini, includes Don Gillis; Debussy: Fetes; Closing.
Contents: Introduction; Giochino Rossini: Overture to Il Signor Bruschino; "Arturo Toscanini: The Parma Years"; Interview with Don Gillis; Toscanini improvising on piano; Toscanini's Scherzo for Orchestra.
Contents: Hector Berlioz: Roman Carnival Overture; Interview with pianist Joseph Kahn; Cesar Franck: Psyche et Eros; Closing.
Contents: Ferde Grofe: The Grand Canyon Suite - II. Painted Desert; Interview with Ferde Grofe; Grand Canyon Suite: III. On the Trail; IV. Sunset.
Contents: Dmitri Kabalevsky: Colas Breugnon Overture; Interview with Leonard Meyers, NBC orchestra press secretary.
Contents: Christoph Willibald Gluck: Orfeo ed Euridice, opening of Act II; Interview with soprano Bidu Sayao; Orfeo ed Euridice Act II: Dance of the Spirits; Closing.
Contents: Wolfgang Amadeus Mozart: Overture to The Marriage of Figaro; rehearsal excerpts (special feature: "Canta, canta"); Claude Debussy: Prelude to An Afternoon of a Faun; Closing.
Contents: Introduction - Toscanini conducts concert favorites; Richard Wagner: Faust Overture; Samuel Barber: Adagio for Strings; J.S. Bach: Air on the G String; Johann Strauss II: Tritsch Tratsch Polka; Closing.
Contents: Felix Mendelssohn: Scherzo from A Midsummer Night's Dream; discussion with Don Gillis; Peter Ilich Tchaikovsky: Romeo and Juliet; Closing.
Contents: Opening lines by bass Jerome Hines; Richard Wagner: Siegfried's death and Funeral March; interview with Harvey Sachs; Closing, with Eugene Ormandy.
Contents: Ferdinand Herold: Zampa Overture; Interview with soprano Jean Tennyson; Camille Saint-Saens: Danse Macabre; Closing.
Contents: Wolfgang Amadeus Mozart: Overture to The Marriage of Figaro; interview with tubist Joseph Novotny; Georges Bizet: Suite from Carmen, as performed at Carnegie Hall in 1952; Closing.
Contents: Introduction; Interview with Fosca Crespi, stepdaughter of Giacomo Puccini; Rehearsal of Musetta's Waltz Scene for 50th anniversary of Puccini's La Boheme on February 1, 1946; Performance of Musetta's Waltz Scene (from Act II of La Boheme); Closing.
Contents: Introduction; Giuseppe Verdi: Overture to Luisa Miller; Franz Schubert: Symphony No. 8 ("Unfinished"); Closing.
Contents: Franz von Suppe: Poet and Peasant Overture; Interview with chauffeur Luigi Gaddoni; Carl Maria von Weber: Invitation to the Dance; Closing.
Contents: Introduction; Gioachino Rossini: Overture to Il Signor Bruschino; Tour of Toscanini home in Milan with daughter Wally; Jean Sibelius: Finlandia; Closing.
Contents: Introduction: Rehearsal for Claude Debussy's La Mer; Performance of La Mer - I. De l'aube
Contents: Introduction; Domenico Cimarosa: Overture to Il matrimonio segreto; Interview with Dr. Harry Gross; Richard Wagner: Good Friday music from Parsifal; Closing.
Contents: Introduction; Hector Berlioz: Rakoczy March; Interview with Frank Falcone, trumpet; Sergey Prokofiev: Symphony No. 1; Closing.
Contents: Introduction; Feature "The Years in Between"; Interview with Walter Toscanini; Closing.
Contents: Introduction; Carl Maria von Weber: Overture to Oberon; Richard Strauss: Don Juan; Closing.
Contents: Luigi Cherubini: Ali Baba Overture; Interview with Massimo Freccia; Paul Dukas: The Sorcerer's Apprentice.
Contents: Feature: "The Eloquent Baton" - Commentaries about Toscanini's conducting techniques from members of the NBC Symphony Orchestra and others. Numbering jumps to 101 with next item.
Contents: Richard Wagner: Prelude to Act III of Die Meistersinger von Nurnberg; Interview with Ann "Cookie" Chotzinoff Grossman (daughter of Sam Chotzinoff); Wagner: Gotterdammerung - Dawn, and Siegfried's Journey.
Contents: Introduction; Ludwig van Beethoven: Coriolan Overture; Interview with Edward Bloch; Bedrich Smetana: The Moldau; Closing.
Contents: Introduction; Hector Berlioz: Roman Carnival Overture; interview with Robert Wogan; Johann Strauss II: Blue Danube Waltz; Strauss: Tritsch Tratsch Polka; Closing. This program marked the third anniversary of the first broadcast of Toscanini: The Man Behind the Legend.
Contents: Introduction; Johannes Brahms: Hungarian Dances; Interview with Harry Kugel (director of Kamp Kohut) and GIlman Collier (former camper); Richard Wagner: Ride of the Valkyries; Closing.
Contents: Introduction; Visit to Casa Verdi, a home for elderly musicians (interviews with guide Senora Scalvini; conductor Giovanni Colucci; Signora Casazza); Giuseppe Verdi: Te Deum, with Robert Shaw Chorale; Closing.
Contents: Introduction; Ambroise Thomas: Mignon Overture; Interview with Salvatore Baccaloni; Amilcare Ponchielli: Dance of the Hours; Closing.
Contents: Part IV: La Scala - The Golden Years, with Walter Toscanini; Closing.
Contents: Introduction; Ludwig van Beethoven: Overture to The Creatures of Prometheus; Interview with David Weber, clarinetist; Gioachino Rossini: Semiramide Overture; Closing.
Contents: Introduction; Contents: Dmitri Kabalevsky: Colas Breugnon Overture; Ottorino Respighi: The Pines of Rome; Cosing.
Contents: Peter Ilich Tchaikovsky: Overture to the Nutcracker Suite; Alfredo Catalani: Dance of the Water Nymphs from Loreley; Interview with John Freeman, editor of Opera News; Emile Waldteufel: The Skater's Waltz; Closing.
Contents: Introduction; Modest Mussorgsky: Pictures at an Exhibition; Interview with Don Gillis about his Symphony 5 1/2; performance of Gillis Symphony 5 1/2; Closing
Contents: Introduction; Ferde Grofe: On the Trail from Grand Canyon Suite; Modest Mussorgsky: Ballet of the Unhatched Chicks from Pictures at an Exhibition; Interview with Edwin Marshall, former CBS radio producer; Peter Ilich Tchaikovsky: Waltz of the Flowers from the Nutcracker Suite.
Contents: Introduction; Rehearsal for Maurice Ravel's Daphnis et Chloe; performance of Daphnis et Chloe, Suite No. 2; Closing.
Contents: Introduction; Peter Ilich Tchaikovsky: Trepak from the Nutcracker Suite; Interview with Albert Sirmay (Szirmai); George Gershwin: An American in Paris; Closing.
Contents: Introduction: Wolfgang Amadeus Mozart: Overture to Don Giovanni; Felix Mendelssohn: Scherzo from A Midsummer Night's Dream; Interview with violist Emanuel Vardi; M.I. (Mikhail Ivanovich) Glinka: Kamarinskaya; Closing.
Contents: Introduction: Peter Ilich Tchaikovsky: March from the Nutcracker Suite; interview with Dr. Irvin Stein, MD; Gioachino Rossini: Overture to William Tell; John Philip Sousa: El Capitan; Closing.
Contents: Introduction; Rehearsal for Ottorino Respighi's Fountains of Rome; performance of Fountains of Rome; Closing.
Contents: Introduction; Niccolo Paganini: Perpetual Motion; "The Eyes of the Maestro" - interviews with Dr. Harry Gross, Walter Toscanini, Rose Bampton; Anatoly Lydadov: Kikimora; Closing.
Contents: Introduction with quotation from Robert Charles Marsh; Felix Mendelssohn: Symphony No. 4 ("Italian" Symphony); Closing.
Contents: Introduction; "Arturo Toscanini: The Debut Years"; Rehearsal with NBC Symphony for Giuseppe Verdi's Aida.
Contents: Introduction; Carl Maria von Weber: Overture to Die Freischutz; Interview with Robert Shaw; Arrigo Boito: Prelude to Mefistofele with the Robert Shaw Chorale, Nicola Moscona, and The Columbus Boychoir; Closing.
Contents: Introduction; Luigi Cherubini: Symphony in D - rehearsal and performance for each movement; Closing.
Contents: Introduction; Robert Schumann: Manfred Overture; Interview with trombonist Abe Pearlstein; Ottorino Respighi: Feste Romane; Closing.
Contents: Introduction; Johannes Brahms: Academic Festival Overture; Interview with bassoonist Hugo Burghauser; Ludwig Van Beethoven: Symphony No. 1.
Contents: Introduction; Felix Mendelssohn: Reformation Symphony - rehearsal and performance; Closing.
Contents: Simulation of a broadcast program of NBC Symphony under Toscanini during the Golden Age of Radio; Richard Wagner: Prelude to Tristan und Isolde; station identification pause; Edward Elgar: Enigma Variations; Closing.
Contents: Introduction; Hector Berlioz: Roman Carnival Overture; interview with William Paisley of NBC music library; Ludwig van Beethoven: Symphony No. 4; Closing.
Contents: Introduction; Excerpts from rehearsals for Zoltan Kodaly's Hary Janos Suite; Interview with Zoltan Kodaly; performance of Hary Janos Suite; Closing.
Contents: Introduction; Ludwig van Beethoven: Leonora Overture No. 3; station identification pause; "Maestro and His Singers"; Closing.
Contents: Introduction; Richard Wagner: Faust Overture; Intermission, interview with conductor Frank Brieff; Beethoven Symphony No. 5; Closing.
Contents: Carl Maria von Weber: Overture to Der Freischutz; station identification pause; Johannes Brahms: Symphony No. 3.
Contents: Introduction; Giuseppe Verdi: Requiem Mass with Dies Irae; Closing.
Contents: Introduction; Christoph Willibald Gluck: Overture to Iphegeneia in Aulis; Paul Dukas: Sorcerer's Apprentice; Johannes Brahms: Concerto for Violin and Cello - Mischa Mischakoff, violin, and Frank Miller, cello; Closing.
Contents: Introduction; Giuseppe Verdi: Te Deum from Quattro Pezzi Sacri; station identification pause; featured section "The Verdi Years" with comments by Mrs. Lionello Pererra, Don Gillis, and Walter Toscanini; Verdi: Hymn of the Nations, with Jan Peerce and the Westminster choir.
Contents: Introduction; Franz von Suppe: Poet and Peasant Overture; interview with Wallace McGill; Edward Elgar: Enigma Variations; Closing.
Contents: Introduction; Richard Strauss: Death and Transfiguration - opening excerpt, rehearsal, full performance; Closing
Contents: Introduction; Giuseppe Verdi: Aida (with Richard Tucker); Interview with Richard Tucker; Aida excerpts; Aida act IV, final scene; Closing.
Contents: Introduction; Sergei Prokofiev: Symphony No. 1; Interview with Robert Charles Marsh; Richard Strauss: Til Eulenspiegel; Closing.
Contents: Introduction; Domenico Cimarosa: Overture to Il matrimonio per raggiro; Interview with Nicola Moscona; Giuseppe Verdi: Rigoletto, Act IV; Closing.
Contents: Peter Ilich Tchaikovsky: Overture to Romeo and Juliet; station identification pause; Interview with Jennie Tourel; Maurice Ravel: Daphnis et Chloe.
Contents: Introduction; Ludwig van Beethoven: Egmont Overture; Interview with Rudolph Ganz; Hector Berlioz: Queen Mab Scherzo from Romeo and Juliet - rehearsal and performance; Closing.
Contents: Carl Maria von Weber: Overture to Euryanthe; Toscanini: The Metropolitan Years; Richard Wagner: Prelude to Act I of Der Meistersinger; Closing.
Contents: Interview with Marcia Davenport; Amilcare Ponchielli: Dance of the Hours; Toscanini: The Metropolitan Years, Part II; Alfredo Catalani: Loreley; Closing.
Contents: Gaetano Donizetti: Overture to Don Pasquale; Toscanini: The Metropolitan Years, Part III, by Don Gillis; Closing.
Contents: Richard Wagner: Ride of the Valkyries from Die Walkure; Anatoly Lydadov: Kikimora; Camille Saint-Saens: Symphony No. 3.
Contents: Introduction; Ludwig van Beethoven: selections from Act I of Fidelio; Interview with Eleanor Steber; Fidelio Act II with Rose Bampton, Jan Peerce, Nicola Moscona, Eleanor Steber, and others; Closing.
Contents: Introduction; Richard Strauss: Don Juan; Ludwig van Beethoven: Concerto No. 4 in G major for piano and orchestra - Robert Serkin, piano; Closing.
Contents: Introduction; Modest Mussorgsky: Pictures at an Exhibition - rehearsal and performance; Closing.
Contents: Introduction; Luigi Cherubini: Ali Baba Overture; Interview with composer Vittorio Rieti; Peter Ilich Tchaikovsky: Concerto No. 1 in B-flat minor - Vladimir Horowitz, piano; Closing.
Contents: Introduction; Richard Wagner: Prelude to Act III of Lohengrin; Emile Waldteufel: Skaters Waltz; "The eyes of the Maestro"; Wolfgang Amadeus Mozart: Symphony No. 41 in C Major ("Jupiter"); Closing.
Contents: Introduction: Luigi Cherubini: Anacreon Overture; Interview with bassist Michael Krasnopolsky; Joseph Haydn: Symphony No. 101 ("Clock" Symphony); Closing.
Contents: Introduction; Christoph Willibald Gluck: Overture to Iphegeneia in Aulis; Interview with conductor Norman Leyden; Ludwig van Beethoven: Symphony No. 8 in F major; Closing.
Contents: Hector Berlioz: Roman Carnival Overture; Announcement by NBC Program Director Robert Wogan; reflections by Walter Toscanini; Ludwig van Beethoven: Symphony No. 5; Closing.
Contents: John Philip Sousa: Semper Fidelis; George Gershwin: An American in Paris; discussion of Toscanini and American composers; Ferde Grofe: On the Trail from Grand Canyon Suite; Don Gillis: Symphony No. 5 1/2; Closing.
Contents: Bedrich Smetana: The Moldau; station identification pause; Antonin Dvorak: New World Symphony; Closing
Contents: Giuseppe Verdi: Overture to La Forza del Destino; story of Toscanini's conducting debut; pause for station identification; Joseph Haydn: Symphony No. 88; Closing.
Contents: Jean Sibelius: Finlandia; Felix Mendelssohn: A Midsummer Night's Dream; Interview with hornist Arthur Berv; station identification pause; Paul Dukas: Sorcerer's Apprentice; Georges Bizet: Suite No. 1 from Carmen; Closing.
Contents: Introduction; Gioachino Rossini: William Tell Overture; Interview with train porter James Moon; Johann Strauss II: Blue Danube Waltz; Richard Wagner: Siegfried's Idyll; Closing.
Contents: Introduction; Wolfgang Amadeus Mozart: Overture to the Marriage of Figaro; Claude Debussy: Iberia; station identification pause; NBC Orchestra rehearsal on November 17, 1949; Maurice Ravel: Daphnis et Chloe Suite No. 2; Closing.
Contents: Introduction; Carl Maria von Weber: Der Freischutz; station identification pause; Richard Strauss: Don Quixote; Closing.
Contents: Introduction; Ludwig van Beethoven: Egmont Overture; Interview with Mischa Mischakoff - former concertmaster - station identification pause; Johannes Brahms: Concerto for Violin and Cello; Closing.
Contents: Introduction; Carl Maria von Weber: Overture to Euryanthe; Toscanini: The Parma Years; Peter Ilich Tchaikovsky: Overture Fantasy - Romeo and Juliet; Closing
Contents: Introduction; Engelbert Humperdinck: Prelude to Hansel and Gretel; Johannes Brahms: Hungarian Dances No. 1, 17, 20, and 21; Interview with percussionist Sam Borodkin; Franz Schubert: Symphony No. 8 in B minor; Closing.
Contents: Introduction; Robert Schumann: Manfred Overture; station identification pause; "The Eloquent Baton" - commentary on Toscanini's conducting; Giuseppe Verdi: Otello; Closing.
Contents: Introduction; Claude Debussy: Prelude to the Afternoon of a Faun; Interview with conductor Yuri Krasnapolsky; station identification pause; Felix Mendelssohn: Symphony No. 4 ("Italian"); Closing.
Contents: Introduction; Peter Ilich Tchaikovsky: Symphony No. 6 - performance and rehearsal excerpts; Closing.
Contents: Introduction; Gioachino Rossini: Overture to Il Signor Bruschino; Sergei Prokofiev: Symphony No. 1; Interview with trumpeter Harry Glantz; station identification pause; Richard Wagner: Prelude and Liebestod; Closing.
Contents: Introduction: Luigi Cherubini: Symphony in D Major - rehearsal and performance; Closing
Contents: Introduction: Ludwig van Beethoven: Overture to The Consecration of the House; Interview with the Albeneri Trio; Arrigo Boito: Prologue to Mefistofele; Closing.
Contents: Introduction; Ludwig van Beethoven: Coriolan Overture; Cesar Franck: Psyche et Eros; Modest Mussorgsky: Pictures at an Exhibition; Closing.
Contents: Introduction; Dmitri Kabalevsky: Overture to Colas Breugnon; station identification pause; Giuseppi Verdi: Rigoletto, Act IV.
Contents: Introduction; Richard Wagner: Faust Overture; Interview with Harry Gross; Franz Schubert: Symphony No. 5; Closing.
Contents: Introduction; Ambroise Thomas: Mignon Overture; Interview with Marziale Sisca; Edward Elgar: Enigma Variations; Closing.
Contents: Introduction; Johannes Brahms: Variations on a Theme of Haydn; Interview with Lester Wallerstein (friend of Toscanini); Joseph Haydn: Symphony No. 104 ("Surprise"); Closing.
Contents: Introduction; Hector Berlioz: Rakoczy March; station identification pause; Interview with Chet Hill; Ottorino Respighi: Pines of Rome; Closing.
Contents: Introduction: Richard Strauss: Death and Transfiguration - rehearsal, station identification pause, performance; Closing.
Contents: Introduction: Ludwig van Beethoven: Overture to The Creatures of Prometheus; Interview with Arthur Austin; station identification pause; Ludwig van Beethoven: Symphony No. 7 in A Major; Closing.
Contents: Introduction; Wolfgang Amadeus Mozart: Symphony No. 40 in G minor; Christoph Willibald Gluck: Dance of the Blessed Spirits from Orfeo ed Euridice; station identification pause; Peter Ilich Tchaikovsky: Nutcracker Suite; Closing.
Contents: Introduction; Amilcare Ponchielli: Dance of the Hours; station identification pause; commentary; closing.
Classical Symphony - Sergei Prokofiev; Enigma Variations - Edward Elgar; Interviews: Don Gillis (composer - producer) Click to listen online at the UNT Digital Library.
Prelude to Act III of Lohengrin - Richard Wagner; Prelude to Parsifal - Richard Wagner; Prelude and Liebestod from Tristan und Isolde - Richard Wagner; Interview: Friedelind Wagner (granddaughter of Richard Wagner) Click to listen online at the UNT Digital Library.
Arturo Toscanini - In Memoriam (1867-1957); Mass in C minor - Luigi Cherubini; Interview: Cardinal Spellman (Archbishop of New York) Click to listen online at the UNT Digital Library.
Overture to Le Nozze di Figaro - Wolfgang Amadeus Mozart; Concerto No. 1 for Bassoon and Orchestra - Wolfgang Amadeus Mozart; Symphony No. 35 "Haffner" - Wolfgang Amadeus Mozart; Interview: Ray Crissara (trumpet) Click to listen online at the UNT Digital Library.
Leonore Overture No. III - Ludwig van Beethoven; Festa Romane - Ottorino Respighi; Interview: Erich Leinsdorf (conductor) Click to listen online at the UNT Digital Library.
Highlights from La Bohème - Giacomo Puccini: Che gelida manina se la lasci riscaldar; Mi chiamo Mili, il pershe non so; O soave fanciulla; Musetta's Waltz; Mimi's Adagio and Quartet; Colline's Aria; Death of Mimi. Cast Includes: Ann McKnight, Nicola Moscona, Jan Peerce, Licia Albanese. Interview: Madame Fosca Crespi (step-daughter of Giacomo Puccini) Click to listen online at the UNT Digital Library.
Overture to William Tell - Gioachino Rossini; Skater's Waltz - Emile Waldteufel; Ballabile and Triumphal March from Aida - Giuseppe Verdi; Prelude to the Afternoon of a Faun - Claude Debussy; Dance of the Hours from La Giocanda - Amilcare Ponchielli; Interviews: Jerome Hines (bass), Eugene Ormandy (conductor), Vivian Della Chiesa (soprano), etc. Click to listen online at the UNT Digital Library.
All-American Program; An American in Paris - George Gershwin; On the Trail from The Grand Canyon Suite - Ferde Grofé; Symphony No. 5 1/2 for Fun - Don Gillis; Feature: Maestro and the American Composer Click to listen online at the UNT Digital Library.
Kindersinfonie or "Toy Symphony" - Leopold Mozart; Symphony No. 1 - Dmitri Shostakovich; Interview: Peter Delheim (RCA recording director) Click to listen online at the UNT Digital Library.
Fêtes from Nocturnes - Claude Debussy; Pohjola's Daughter - Jean Sibelius; Symphony Concertante - Joseph Haydn; Interview: Walter Hendl (conductor) Click to listen online at the UNT Digital Library.
Finlandia - Jean Sibelius; Symphony No. 2 in D major - Jean Sibelius; Interviews: Howard Taubman (music critic), Massimo Freccia (conductor) Click to listen online at the UNT Digital Library.
Overture to La Forza del Destino - Giuseppe Verdi; Symphony No. 9, final movement - Ludwig van Beethoven; Feature: Arturo Toscanni - Portrait of a Century Click to listen online at the UNT Digital Library.
Egmont Overture - Ludwig van Beethoven; Invitation to the Dance - Carl Maria von Weber; Symphony No. 99 in E flat - Joseph Haydn; Interview: Hugh Ross (conductor) Click to listen online at the UNT Digital Library.
Gesang der Parzen - Johannes Brahms; Hungarian Dances - Johannes Brahms; Serenade in A - Johannes Brahms Click to listen online at the UNT Digital Library.
The Moldau - Bedrich Smetana; Hary Janos Suite - Zoltan Kodaly; Feature: Rehearsal Outtakes http://digital.library.unt.edu/ark:/67531/metadc28261/
Don Juan - Richard Strauss; Concerto No. IV in G major for piano and orchestra - Ludwig van Beethoven, soloist: Rudolf Serkin Click to listen online at the UNT Digital Library.
Daphnis et Chloé - Maurice Ravel; Concerto No. III in C minor for piano and orchestra - Ludwig van Beethoven; soloist: Artur Rubinstein Click to listen online at the UNT Digital Library.
Fountains of Rome - Ottorino Respighi; Concerto No. I in C major for piano and orchestra - Ludwig van Beethoven, soloist: Ania Dorfman Click to listen online at the UNT Digital Library.
Overture to The Creatures of Prometheus - Ludwig van Beethoven; Symphony No. 7 in A major - Ludwig van Beethoven; Interview: Sir Adrian Boult (conductor) Click to listen online at the UNT Digital Library.
Highlights from Otello - Giuseppe Verdi: Brindisi Iago; Desdemona - Otello love duet; Recitativo and Iago's Credo; Ora e per sepre addio, sante memorie; Dio mi potevi scagliar tutti i mali della miseria; Recitativo: Mia madre evava una povera ancella; The Willow Song and Ave Maria; Niun mi tema, se ance armato mi vede. Cast: Herva Nelli, Nan Merriman, Ramon Vinay, Giuseppe Valdengo. Feature: Ben Grauer recounts stories of Toscanini at La Scala Click to listen online at the UNT Digital Library.
The Sorcerer's Apprentice - Paul Dukas; La Mer - Claude Debussy; Interview: Ernest Ansermet (conductor) Click to listen online at the UNT Digital Library.
Psyché et Eros - Caesar Franck; Symphony No. III in F - Johannes Brahms; Feature: Ben Grauer talks about Toscanini and Brahms Click to listen online at the UNT Digital Library.
Roman Carnival Overture - Hector Berlioz; Blue Danube Waltz - Johann Strauss; Queen Mab Scherzo - Hector Berlioz; Feature: Rehearsal Outtakes; Interview: Robert Wogan (vice president of programming, NBC) Click to listen online at the UNT Digital Library.
Overture to The Barber of Seville - Gioachino Rossini; Symphony No. 5 "Reformation" - Felix Mendelssohn; Interview: Dr. Dorman Winfrey (director, Texas State Library) Click to listen online at the UNT Digital Library.
Image No. II: Iberia - Claude Debussy; Symphony No. III "Rhenish" - Robert Schumann Click to listen online at the UNT Digital Library.
Overture to Oberon - Carl Maria von Weber; Symphony No. II in D major - Ludwig van Beethoven; Interview: Dr. James Christian Pfohl (director, Reston Music Center) http://digital.library.unt.edu/ark:/67531/metadc28272/
Dawn and Siegfried's Rhine Journey from Die Götterdämmerung - Richard Wagner; Symphony No. 9 "From the New World" - Antonín Dvorák Click to listen online at the UNT Digital Library.
Overture to Semiramide - Gioachino Rossini; Symphony No. 8 in F major - Ludwig van Beethoven; Interview: James Dickie (bassoon) Audio not available.
The Moldau - Bedrich Smetana; Mefistofele Prologue - Arrigo Boto, soloist, Nicola Moscona; Interview: Mrs. Ernest Newman (widow of critic and author, Ernest Newman) Click to listen online at the UNT Digital Library.
Overture to Midsummer Night's Dream - Felix Mendelssohn; Octet in E flat major for strings - Felix Mendelssohn; Interview: Daniel Guillet (concertmaster) Click to listen online at the UNT Digital Library.
Overture to William Tell - Gioachino Rossini; Skater's Waltz - Emile Waldteufel; Moto Perpetuo - Nicolo Paganini; Symphony No. 8 "Unfinished" - Franz Schubert Click to listen online at the UNT Digital Library.
Overture to Der Freischütz - Carl Maria von Weber; Danse of the Water Nymphs - Alfredo Catalani; Symphony No. 39 in E flat major - Wolfgang Amadeus Mozart; Interview: Kent Kennan (composer) Click to listen online at the UNT Digital Library.
Overture to Anacreon - Luigi Cherubini; Symphony in D major - Luigi Cherubini; Interview: Mary Watkins Cushing (author) Click to listen online at the UNT Digital Library.
Part I: Un Ballo in Maschera, Act I, Scene I - Giuseppe Verdi, Presented in Four Parts. Cast: Jan Peerce (Ricardo), Herva Nelli (Amelia), Robert Merrill (Renato) Clara Mae Turner (Ulrica), Virginia Haskins (Oscar), George Cehanovsky (Silvano) Nicola Moscona (Samuel), Norman Scott (Tom), Robert Shaw Chorale. Click to listen online at the UNT Digital Library.
Part II: Un Ballo in Maschera, Act I, Scene II - Giuseppe Verdi Click to listen online at the UNT Digital Library.
Part III: Un Ballo in Maschera, Act II - Giuseppe Verdi Click to listen online at the UNT Digital Library.
Part IV: Un Ballo in Maschera, Act III - Giuseppe Verdi. Click to listen online at the UNT Digital Library.
Overture to La Gazza Ladra - Gioachino Rossini; Concerto in D major for violin and orchestra - Ludwig van Beethoven; soloist, Jascha Heifetz Click to listen online at the UNT Digital Library.
Egmont Overture - Ludwig van Beethoven; Symphony No. 5 in C minor - Ludwig van Beethoven; Interview: Eugene Conley (tenor) Click to listen online at the UNT Digital Library.
Academic Festival Overture - Johannes Brahms; Symphony No. 4 in E minor - Johannes Brahms Click to listen online at the UNT Digital Library.
Overture to Colas Breugnon - Dmitri Kabalevsky; Don Juan - Richard Strauss; Feature: The Eloquent Baton Click to listen online at the UNT Digital Library.
The Fountains of Rome - Ottorino Respighi; Concerto No. III in C minor for piano and orchestra - Ludwig van Beethoven, soloist, Arthur Rubinstein Click to listen online at the UNT Digital Library.
Variations on a Theme of Haydn - Johannes Brahms; Romeo and Juliet - Peter Ilich Tchaikovsky; Interview: John Plummer (NBC music librarian) Click to listen online at the UNT Digital Library.
Manfred Overture - Robert Schumann; Feature: The Maestro and his Singers Click to listen online at the UNT Digital Library.
Prelude to Hansel und Gretel - Engelbert Humperdinck; Symphony No. 3 in F major - Johannes Brahms; Feature: Ben Grauer talks about the Maestro and Brahms Click to listen online at the UNT Digital Library.
Overture to Die Zauberflöte - Wolfgang Amadeus Mozart; Suite No. 1 from Carmen - Georges Bizet; Till Eulenspiegel - Richard Strauss; Interview: Vittorio Rieti (composer) Click to listen online at the UNT Digital Library.
Overture to Il Signore Bruschino - Gioachino Rossini; Symphony No. 94 in G major, "Surprise" - Joseph Haydn; La Mer - Claude Debussy Click to listen online at the UNT Digital Library.
Faust Overture - Richard Wagner; The Moldau - Bedrich Smetana; Finlandia - Jean Sibelius; Te Deum: Quatri Pezzi Sacri - Giacomo Puccini Click to listen online at the UNT Digital Library.
Overture to Der Freischütz - Carl Maria von Weber; Queen Mab Scherzo - Hector Berlioz; Suite No. II from Daphnis et Chloe - Maurice Ravel; Interview: Robert Simon (Manager of Carnegie Hall) Click to listen online at the UNT Digital Library.
Symphony No. 4 "Italian" - Felix Mendelssohn; Arturo Toscanini: Portrait of a Legend - Don Gillis Click to listen online at the UNT Digital Library.
Overture to Il Signore Bruschino - Gioachino Rossini; Farandole from L'Arliesienne Suite No. 1 - Georges Bizet; Sorcerer's Apprentice - Paul Dukas; Interviews: Oreste di Savo (piccolo), Dr. Leonard Falcone (band director) Click to listen online at the UNT Digital Library.
Roman Carnival Overture - Hector Berlioz; Symphony No. 9, final movement - Ludwig van Beethoven Click to listen online at the UNT Digital Library.
Barcode 707296.
Barcode 707298.
Barcode 707288.
"Stereo master."
Barcode 707297.
"2 copies."
"2 copies."
Music history series, Prof. Don Gillis.
"1 copy."
"2 copies."
Air Force Band. Gabriel, conducting.
Music history series, Prof. Don Gillis.
"2 copies."
"2 copies."
20:10. Music history series, Prof. Don Gillis.
Music history series, Prof. Don Gillis.
Barcode 713078.
Vocal score. Mills Music.
For oboe and orchestra. Score and parts. Second movement from "Four Scenes from Yesterday." Score and parts. Boosey & Hawkes.
For clarinet and piano. Third movement from "Four Scenes from Yesterday." Score and parts. Boosey & Hawkes.
For orchestra. Score and parts. Boosey & Hawkes. 2 copies.
Barcode 713079.
For band. N.A. Kjos Music Co. Score and parts. Includes added manuscript part for contrabass clarinet.
For band. N.A. Kjos Music Co. 2 sets of score and parts. Includes added manuscript part for contrabass clarinet.
Barcode 713080.
For band. N.A. Kjos Music Co. Score and parts. Includes added manuscript part for contrabass clarinet.
For band. N.A. Kjos Music Co. Score and parts.
Barcode 713081.
Southern Music Co. Score and parts.
For string orchestra, score only. Mills Music.
For orchestra. Score and parts. Boosey & Hawkes. Stamped as being part of the NBC orchestra library.
Three copies of score plus set of score and parts. Interlochen Press.
For B-flat trumpet quartet. Score and parts. Boosey & Hawkes.
Barcode 713082.
For string orchestra. 2 copies of score plus set of score and parts. Interlochen Press.
Score and parts. Mills Music.
For string orchestra. Score and parts. Boosey & Hawkes.
For band. Condensed score and parts. Interlochen Press.
Received from Barbara Gillis in Athens, Georgia.
Correspondence with Baptist churches and organizations in Tennessee
Correspondence with Baptist churches and organizations in Enid and Oklahoma City about performances of Gillis' "The Nazarene."
Correspondence, primarily with Baptist churches, with programs and newspaper clippings, about performances of The Nazarene.
Correspondence with Hillcrest Baptist Church, Carlisle, Ohio, about performances of The Nazarene.
Correspondence with Baptist churches and organizations in New Mexico.
Correspondence with Baptist churches and organizations about performances of The Nazarene.
Correspondence from Don and later Barbara Gillis with Baptist churches regarding performances of The Nazarene.
Correspondence with Baptist churches regarding performances of The Nazarene.
Correspondence with First United Methodist Church in Baton Rouge regarding performances of The Nazarene.
Correspondence with Nall Avenue Baptist Church in Prairie Village regarding performances of The Nazarene.
Correspondence primarily with Bethel College regarding performances of The Nazarene.
Correspondence with Baptist churches and organizations about performances of The Nazarene.
Correspondence regarding performances of The Nazarene, with newspaper excerpts and a performance program.
Correspondence from Don and later Barbara Gillis regarding performances of The Nazarene, with newspaper excerpts, ticket stubs, and performance programs.
Correspondence regarding the potential performance of The Nazarene in Canada, specifically in Calgary, Alberta.
Correspondence regarding performances of The Nazarene, with newspaper excerpts.
Correspondence regarding performances of The Nazarene, with 2 copies of a performance program.
Correspondence regarding performances of The Nazarene.
Correspondence with First Baptist Church in Suffolk VA, regarding the performance of The Nazarene.
Correspondence regarding performances of The Nazarene, with newspaper excerpts and performance programs.
List of works, correspondence, news articles, and performance programs related to Portrait of a Frontier Town.
Includes list of potential grant funders in Texas at that time.
1980 correspondence is with Barbara Gillis.
Performance photos, folded music manuscript pages 104-105, 112, 186, 187, and one without page number.
Various resumes and related documents.
Lists of works, synopsis for "Bridal Suite - A Musical in One Act."
Lists of works, copyright registrations, publications and dates
Two copies of "Music by Don Gillis," with note "These tapes are prepared especially for North Texas State University." Includes an index of music by reel number, program notes, and alphabetical listing of compositions included.
Numerous stapled copies of lists.
This box contains 10-inch reel-to-reel audio tapes. Title from spine label unless otherwise noted.
Three compositions by Arturo Toscanini: V'Amo; L'Autumno; Berceuse. Arthur Warren, tenor; Joseph Kahn, piano. Recorded at Plaza Sound Studios.
Mono, 7.5 ips. Arthur Warren, tenor; Joseph Kahn, piano.
Container: Henry Sopkin: Atlanta Suite; Harp Rhapsody ("premiere with Vito"); Shindig. Tape label: Park Ave. Kids part I.
Reel has "NTSU" sticker.
Dubbed November 18, 1967.
"Toscanini conversation."
"Part I - 3rd movement detailed rehearsals; 3rd movement no stops; Part II - 4th movement from beginning, few stops."
Reel "out takes." Unclear if re-used reel or if contents are outtakes.
Back of container: Instant Replay, premiere recording, Saturday, March 19, 1977. Reel: "Grauer [illegible]."
Toscanini program 51. Recorded December 5, 1967, broadcast December 10.
Part 1: first movement, detailed rehearsal, slow tempo. Part 2: first movement, a tempo, second movement, played twice.
Back of container: U.S. Air Force Symphony Orchestra, Lt. Col. Arnald D. Gabriel, conductor. "Portrait of a Century."
Back of container has crossed out: U.S. Air Force Symphony Orchestra, Lt. Col. Arnald D. Gabriel, conductor. "Portrait of a Century."
No other information on container or reel.
Back of container: U.S. Air Force Symphony Orchestra, Lt. Col. Arnald D. Gabriel, conductor. "Portrait of a Century." Added in pencil: 1867-1957.
Front of container: Conversations with Don Gillis #1. Master copy. Project number MU78513. Producer: Zane Knauss. Insert in container: Engineer: Ed Breland.
Front of container: Conversations with Don Gillis #2. Master copy. Producer: Zane Knauss.
Insert in container: Instructional Services Center, University of South Carolina. Client: Zane Knauss. Engineer: Breland. Master copy. Copy of South Carolina Educational Radio Network FM program guide for January 1978 also enclosed. Front of container: "2/1/78 (7:30 PM) WLTR."
Insert in container: Instructional Services Center, University of South Carolina. Engineer: Breland.
Insert in container: Instructional Services Center, University of South Carolina. Client: Zane Knauss. Engineer: Breland. Master copy.
Instructional Services Center, University of South Carolina. Engineer: Breland. Insert in container gives air date of July 5, 1977. Master copy.
Box 3 contains 3 smaller boxes of cassettes, along with other items, numbered 4 and up.
Cassette tapes. Interviews by Don Gillis unless otherwise noted. Slash separates sides of the tape
Knauss interviewed by Don Gillis and Dr. Leon Lessenger.
Cauthen interviewed by Don Gillis and Dr. Leon Lessenger.
Cromer interviewed by Allen King Cooper.
Jacobi interviewed by Don Gillis and Dr. Leon Lessenger.
Side 1: Toscanini rehearsal NBC - Mozart Symphony No. 35, 11-46. Side 2: Mozart concluded; Fritz Kreisler 75th birthday, 2-50.
Side 1: Keel/Gillis Toscanini. Side 2: Gillis/Keel on Gillis' music.
Gillis/Keel Art of Media Instruction.
Bach, Beethoven, Chopin, Copland.
Debussy, Dvorak, Gershwin, Gillis.
Grieg, Handel, Haydn, Kodaly.
Mendelssohn, Mozart, Ravel, Schubert.
Sibelius, Rimsky-Korsakov, Rossini, Verdi.
Shostakovich, Taylor, Tchaikovsky.
Side 1: Joe Maddy, 1961; Ben Grauer, 1963. Side 2: Today Show, 3-29-68; "Unfinished Symphony Conductor."
Side 1: Jim Dicky, David Guion, John Cauthen. Side 2: Tribute to Ferde Grofe at SMU.
Side 1: With Walter Toscanini. Side 2: Reading script.
"With Walter T doing Debut Years 1 + 2."
"With Walter T doing Debut Years 3 + 4."
"With Walter T doing Debut Years 4 + 5."
"With Walter T. La Scala #1."
"With Walter T. La Scala #2."
Side 1: Canta, Canta; Eloquen Baton 122. Side 2: Eyes of Maestro; Singers; Rehearsal segments; Watch incident.
Side 1: Farandole - Bizet; Leonard Falcone re: La Scala Tour; Detroit 1921; Material re: first NBC broadcast 1937; Dixie; Garibaldi; Hymn; Old Camden records: 1. Farandole from L'Arlesienne Suite 2 by Bizet; 2. Carmen Suite - Bizet; 3. Finale, Symphony 1 - Beethoven. Side 2: Kodaly interview; Walter Toscanini and Don Gillis.
Side 1: Visit to Villa Pauline - raw interview. Side 2: Villa Pauline continued; Monitor Spot; Today Show; Watch incident.
Side 1: Debut Years. Side 2: Parma Years (Don Gillis); Parma Years (Ben Grauer).
With tape counter markers: Side 1, Skits: Airport (0); Turntable (103); Herman (230); Marvin M (420). Side 2, Story Time: Big Race (0); Happy Jack (139); Old Mother Hubbard (330).
Side 1: "Don improvising." Side 2: Barbie's Song.
Marked "D" for Don and "L" for Lew. Side 1: Ceremony of Allegiance (D); 2. Children's Suite (L); 3. Sketch for Boy Scout Band and Bugle (L); Whiz Bang (L); Carla (L). Side 2: This Is Our America (D); Dialogue for Trombone (D); Tulsa (D); TCU Alma Mater.
Side 1: Deems Taylor at Interlochen. Side 2: Camp Radio Class at Interlochen.
Side 1: O. Carl Simonton. Side 2: Dr. David Creek; Dr. Oscar Morphus.
Side 1: Magic Giant; Now You See Me; Bedeliap Goes to School; Big Move; The Book That Talked. Side 2: Boy Named Grock; Hucbald Solves a Problem; Santa Named Clause; Big and Little.
Side 1: Betsy Ross; Three Liturgical Dances. Side 2: My Name Is Children; Masks of April.
Side 1: Austin Speech, NAEB, 1965; Singing Dogs. Side 2: Sound effects: Thunder; Jet Plane; Cash Register; Rooster; Birds.
At Interlochen.
8 D90 tapes, 1 D60.
Stored lengthwise in box due to size.
These letters appear to have been saved by Pierson and sent to UNT. At least one letter is from Barbara Gillis. Stored lengthwise in box due to size.
File also includes invitation card for the world premiere of Gillis' Instant Replay. These materials also appear to have come from Thomas Pierson.
Includes typed program guide for The Seventh Age, script for Old Mother Hubbard, Hucbald Visits the Vet, newspaper clippings, a copy of A Memory: For Bassoon Quartet published by Prairie Dawg Press; correspondence with the American Symphony Orchestra League, and photos. Stored lengthwise in box due to size.
"A Special Issue of ASCAP in Action."
Hardcover. Inscribed to Don Gillis. New York: Horizon Press. Items 18 and onward are not known to be from the 2009 accrual, but were additional unprocessed materials.
Paperback. New York: Dover Publications, Inc. Reprint.
Hardcover.
Folder stored lengthwise in box due to size. Contents: U.S. Army Band, 1972, photo of Gillis conducting, multiple copies of photo of Gillis, plus negative.
LPM 2832. OCLC 24615833. Jingles apparently done for radio station WJBK in Detroit, in the style of various other artists. Stapled insert details selections, styles, and contents.
E4-KP-7584 / E4-KP-7583. OCLC 53234273.
London LPS 175. "Mrs. E.A. Gillis" written on back.
Boosey and Hawkes 0T.2092 9838/9839.
Lyle Babcock, director. "Special music by Lew Gillis." Delta Records RITE 188-8799 / 188-8800. Not in OCLC.
CO-253. OCLC 7239608.
OCLC 7074581. Not in UNT catalog.
London LLP 176. Close OCLC match in 13836602. Second copy included from elsewhere in unprocessed collection.
Not in UNT Catalog. OCLC 65208432. Copy includes typed script, "Recording for affiliate managers," detailing script spoken by Ben Grauer.
OCLC 955142580. Not in UNT catalog. Copy autographed by Walter Toscanini, inscribed to Gillis, dated January 17, 1961.
OCLC 7506464. Not in UNT catalog. CMP Recordings CMP 87638 LPS
OCLC 34261782. Not in UNT catalog. Varese Sarabande VC 81046.
OCLC 19485715. Not in UNT catalog. Includes Gillis' concerto for Organ and Band.
OCLC 10412773. Not in UNT catalog.
Not in OCLC. D-12920. 2 performance programs enclosed.
Not in OCLC. Century Records 39105, stereo.
Not in OCLC. Inscribed to Gillis by Deems Taylor. Contains Deems Taylor's Throught the Looking Glass, and Ballet Music for Orchestra by Hartley. Conductors: Joseph E. Maddy and George C. Wilson.
OCLC 18515767. Reader's Digest RD 45-M.
OCLC 608645739. Dallas: Crescendo Book Publications, 1973.
Dated at Dallas.
Includes telegram script handwritten on scrap of yellow legal paper. Alfred Scott, publisher. 198-3-16E-55.
Printed off of the internet on May 28, 2009.
Full score. Nashville: Broadman Press.
Originally in box 6.
First set of photos from an event with the U.S. Army. Document: "Pictorial resume of the All Eastern Band and Instrumental Clinic of '56." Second set of photos from 1956 event. Originally in Box 6.
Summer session 1. Photos of Gillis and other participants.
Summer session 1. Photos of Gillis and other participants.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Black and white.
Marcel's studio, Fort Worth.
Marcel's studio, Fort Worth. Closer photo than previous item.
Black and white. Photo by Jerry Plemons.
Black and white.
Black and white.
Black and white. Photo by Jerry Plemons.
Black and white.
Black and white.
Reverse side: Cloetingh and DeMan Studios, Inc., South Bend - Elkhart [Indiana].
Smaller version of Item 30 above.
Multiple copies of stylized portrait of Don Gillis. Includes transparency/negative.
Includes memo directing materials to UNT Music Library, promotional materials, newspaper clippings, manuscript/sketch in pencil, perhaps for a career retrospective presentation
First page reads "produces Toscanini concerts." Two other pages have images from Gillis' time at TCU. Possible career retrospective or tribute materials.
Connected film frames, but not negatives.