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Leopold Stokowski papers


Held at: University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts [Contact Us]3420 Walnut Street, Philadelphia, PA 19104-6206

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Leopold Anthony Stokowski was born 18 April 1882 at 13 Upper Marylebone Street, Middlesex County, London. Stokowski was the oldest of three children born to Kopernik Joseph Boleslaw Stokowski, a cabinet maker, and Annie Marion Moore Stokowski. His background on his father's side was Scots and Polish, on his mother's Irish and English. He was raised in the Church of England, and with his younger brother Percy, sang in the choir of St. Marylebone Church. Leopold was named after his grandfather Leopold Stokowski who had emigrated to England from Poland in the 1840s or early 1850s.

Little is known about Stokowski's earliest musical training. In addition to learning choral music, he played the organ and violin. He was admitted to the Royal College of Music in January 1896 at the age of 13. His skill as an organist developed rapidly and on 25 June 1898 at the age of 16 he was elected to membership in the Royal College of Organists. Stokowski was engaged to be organist and choir director at St. James's Church Piccadilly in 1902. The same year he also entered Queen's College, Oxford. His part-time study was arranged by Sir Hubert Parry, the director of the Royal College of Music and a full professor of music at Oxford. Stokowski received his Bachelor of Music degree on 19 November 1903.

In 1905 he was offered the job of organist and choir master at St. Bartholomew's Church, 44th and Madison Avenue in New York City. The church's rector, the Reverend Leighton Parks, had traveled to England in search of an organist for his church. At this church, whose members included J.P. Morgan, Stokowski transcribed a number of orchestral works to be played on the organ. Through Maria Dehon, one of the sopranos in the church choir who often held musical parties in her home, Stokowski was introduced to the pianist Olga Samaroff, who was already making a name for herself in New York's musical world. Samaroff had debuted with Walter Damrosch and the New York Symphony in Carnegie Hall in January 1905 and later that year she performed with the Philadelphia Orchestra conducted by Fritz Sheel. Stokowski, still young and unknown, inaugurated a series of organ recitals at St. Bartholomew's and was popular with the choir and congregation, but sometimes found himself in conflict with the rector. Stokowski was ambitious to conduct and resigned his position at St. Bartholomew's as of 30 August 1908.

Stokowski spent his summers in Europe and made his debut as an orchestra conductor in Paris on 12 May 1909. He had spent the previous fall and spring writing to Mrs. Christian Holmes (née Bettie Fleischmann), director of the board of the Cincinnati Orchestra Association, who was looking to hire a new conductor. Some of the groundwork for Stokowski's search for this position may have been laid by Olga Samaroff, who had family connections in Cincinnati and knew Mr. and Mrs. Charles Taft as well as Bettie Holmes. Stokowski arrived in Cincinnati on 29 May 1909. On May 17 his selection as conductor of the Cincinnati Orchestra was announced in the press.

His first season with the Cincinnati Orchestra was a great success with audiences and critics. In 1910 Stokowski met Rachmaninoff who was on his first visit to the United States. Rachmaninoff played his Second Piano Concerto with Stokowski and the Cincinnati Orchestra on January 21 and began an association that would continue to develop in Philadelphia. After announcing their engagement on 8 April 1911, Stokowski and Olga Samaroff were married quietly on 24 April. They continued to pursue their individual careers and spent time in Europe in the summers, particularly in Munich. Stokowski resigned his position with the Cincinnati Orchestra in 1912, citing differences with the board of Directors. When conductor Carl Pohlig left the Philadelphia Orchestra in 1912, Stokowski was free to accept an offer to conduct the Philadelphia Orchestra beginning in the fall of 1912.

Stokowski's years as conductor of the Philadelphia Orchestra from 1912 to 1936 transformed this ensemble into one of the greatest in the world, noted for its precision, sonority, brilliance, and a particularly distinctive string tone. He achieved international recognition in 1916 with the first American performance of Gustav Mahler's Symphony no. 8, performed with nearly a thousand singers and an orchestra of 110 players on the stage of the Academy of Music in Philadelphia. The nine performances in Philadelphia and one in New York at the Metropolitan Opera were sold out to wildly enthusiastic crowds.

The first acoustical recording made by the Philadelphia Orchestra was made under Stokowski's direction on 22 October 1917 at the Camden, New Jersey studio of the Victor Talking Machine Company, later the Radio Corporation of American. Stokowski studied acoustics and sound recording technology. With Dr. Harvey Fletcher of Bell Laboratories, he helped develop a binaural recording scheme. He was interested in the architectural design and acoustics of orchestra halls and was eager to contribute to plans to build a new hall for the Philadelphia Orchestra in the 1920s to be called the "Temple of Music." Stokowski experimented with the seating of members of the orchestra, encouraged free breathing for his brasses and winds and free bowing for the strings to achieve new effects and balance in orchestral sound and to accommodate acoustical differences in the halls where the Philadelphia Orchestra played.

In March of 1922 Leopold Stokowski was the first recipient of the $10,000 "Philadelphia Award" created by Edward W. Bok and awarded to the individual who rendered the most valuable service to the city of Philadelphia in the preceding year. Stokowski formed a close friendship with Edward Bok, managing editor at the Curtis Publishing Company, publishers of the Saturday Evening Post and Ladies Home Journal. Edward Bok's wife Mary Louise Curtis Bok founded the Curtis Institute of Music in Philadelphia in 1924 as a school for especially talented music students who had developed beyond the training that was given them at the Settlement Music School in Philadelphia. Leopold Stokowski served as an advisor to the Board of Directors and conductor of the Curtis Student Orchestra.

In May of 1923 papers spread the news that Stokowski and Olga Samaroff were separating and had signed an agreement to share equal custody of their daughter Sonya born the previous year. Their divorce was granted in June of 1923. On 18 May 1924 the first concert by The Philadelphia Band was held at the Academy of Music in Philadelphia. This group of 120 men was organized and trained by Stokowski for Philadelphia's Music Week 1924. Known popularly as Stokowski's "Band of Gold" it was conceived of as the largest and most highly trained military band in the United States. At about the same time Stokowski inaugurated children's concerts with the Philadelphia Orchestra, starting a tradition which has continued to the present.

On 11 January 1926 Stokowski married Evangeline Brewster Johnson, daughter of the late Robert Wood Johnson, founder of the Johnson & Johnson pharmaceutical company. They were married at the bride's home on Park Avenue in New York City after a courtship lasting only a few weeks. They had two children, daughters Luba, born 2 January 1927, and Sadja, born 26 October 1930.

In 1932 Stokowski inaugurated a series of Youth Concerts with the Philadelphia Orchestra in Philadelphia. Designed to attract young people from ages thirteen to twenty-five with low ticket prices, the concerts were enormously popular, and hundreds of people were regularly turned away at the doors. A Youth Concert Committee was formed to help run the concerts and publicize them, the young people chose the music on the program, and a representative of this committee attended meetings of the Orchestra Board of Directors. From this beginning a Youth Movement was started, including a Youth Orchestra conducted by Sylvan Levin, a Youth Chorus conducted by Harl Macdonald, and informal groups meeting to play or study music. A drama group was formed as well, and in 1935 a magazine titled Youth was published documenting the activities of these various groups, all of whom saw Leopold Stokowski as their inspiration and prime mover.

Some members of these early groups followed Stokowski throughout his career. Among them were Natalie Myra Bender, who worked as Stokowski's assistant and sometime copyist for many years, and Natalie's friend Faye Chabrow. Natalie and Faye both worked as his personal assistants on and off through the years, particularly after 1955. Natalie Bender accompanied Stokowski to England when he moved there in 1972. She and his assistant Jack Baumgarten took care of his household and assisted with his affairs until the time of his death.

One writer has estimated that Stokowski premiered some 2,000 new or unplayed works in his long career (Smith 1983, 29). Many were the first performance of works of European composers in the United States; many were world premiers. Stokowski premiered Stravinsky's ballet Le Sacre du Printemps (Rite of Spring) with Martha Graham (1930); Alban Berg's opera Wozzeck (1931); and Schoenberg's Die Glückliche Hand (1930); Stravinsky's Oedipus Rex (1931); Prokofiev's Pas d'Acier (1931); Schoenberg's Pierrot Lunaire (1932); and Carlos Chavez's ballet H.P. with costumes and set by Diego Rivera (1932). He premiered Schoenberg's Gurrelieder (1932); Rachmaninoff's Piano Concerto no. 4 with the composer at the piano (1934) as well as Rachmaninoff's Symphony no. 3 (1936); and Sibelius's Symphonies no. 5 (1921), no. 6 (1926), and no. 7 (1926). Stokowski championed the works of American composers, including compositions by Samuel Barber, Aaron Copland, Henry Cowell, Charles Ives, Gian Carlo Menotti, Alan Hovhaness, Wallingford Riegger, William Shuman, Jose Serebrier, Elie Siegmeister and many others.

In November 1934 Stokowski premiered William Levi Dawson's Negro Folk Symphony with the Philadelphia Orchestra at the Academy of Music; it was the first performance by a major U. S. symphony orchestra of the work of an African-American composer. Stokowski's interest in African-American music predates this premier by many years. In 1928 he corresponded with Philadelphia contralto Marian Anderson and her manager Billy King about the possibility of a performance by Anderson with the Philadelphia Orchestra. He was also interested in seeing copies of the African-American music in her repertoire. (Marian Anderson Papers, Ms. Coll. 200, Folder 5462)

In 1936 Stokowski announced his resignation from the Philadelphia Orchestra. Eugene Ormandy signed a three-year contract as the orchestra's conductor in January 1936, and Stokowski signed a contract as co-conductor to perform approximately twenty concerts with the Orchestra. Stokowski retained the studio and apartment he had rented since 1932 from the Philadelphia Art Alliance at 1716 Rittenhouse Street, but moved to Hollywood. During the summer of 1937 filming began on the motion picture 100 Men and a Girl, in which Stokowski starred with Deanna Durbin. In December of 1937 Evangeline Johnson filed suit for divorce from Stokowski, desiring a more stable home life for their daughters. Stokowski's name was linked romantically to Greta Garbo and several cryptic telegrams in the Stokowski Papers allude to her career.

Meetings regarding plans for an animated feature with a classical music score took place in Walt Disney's studio in 1938. On 25 January 1939 Stokowski signed a contract with Walt Disney for Fantasia. Much of the music was recorded with the Philadelphia Orchestra at the Academy of Music in Philadelphia in April 1939 and the film opened in 1940.

The Leopold Stokowski Papers at the University of Pennsylvania are particularly revealing of Stokowski's interest in electric instruments and his plans to start an electric orchestra in California in 1938 and 1939. Included in Stokowski's notes on this project are lists of instrumentation, programs, repertoire, and budgets for the orchestra, which he hoped would be able to rehearse and perform at the University of California, Berkeley. He was also intensely interested in the relationship between color and sound and his correspondence with his attorney in Philadelphia, Joseph Sharfsin, includes a drawing for a trademark "COLORHYTHM" with Stokowski's instructions to register the trademark.

In 1939 as the war approached, Stokowski organized a concert to benefit the Hollywood Committee for Polish Relief. In Philadelphia, the Philadelphia Committee for Polish Relief was chaired by Stokowski's friend, Mary Louise Curtis Bok (Evening Bulletin, 6 Dec. 1939). Throughout his career Stokowski showed a strong interest in young musicians, both women and men, auditioned thousands of them, and encouraged them in their careers. In 1940 he founded the All-American Youth Orchestra and toured Latin America with these young musicians during that summer. In 1941 the Youth Orchestra toured fifty-four U.S. cities, Canada, and Tijuana Mexico. The second World War meant the end of world touring and financial support for the All-American Youth Orchestra. Stokowski accepted an offer to co-conduct the NBC Symphony Orchestra with Arturo Toscanini in 1942 and 1943. In the 1944-1945 season, with support from Mayor Fiorello La Guardia, Stokowski founded and conducted the New York City Symphony. In April of 1945 Stokowski married Gloria Vanderbilt in Mexacali, Mexico following Gloria's divorce from Pat di Cicco. They had two sons, Stanislaus, born 22 August 1950 and Christopher, born 31 January 1952. This marriage too ended in divorce after 10 years. People who knew Stokowski at this time, including his biographer Oliver Daniel and secretary Wendy Hanson, spoke of his strong attachment to his sons, his need to be involved in their lives, and his desire for their well being during a difficult divorce and custody suit.

In 1951, Stokowski took the Royal Philharmonic Orchestra on a nationwide tour of Great Britain at the invitation of Sir Thomas Beecham, establishing a pattern of guest conducting there which would continue for more than twenty years.

The Contemporary Music Society was founded in 1952 by John Coburn Turner, Oliver Daniel, and Leopold Stokowski, among others. Stokowski conducted a concert under its auspices on 22 February 1953 at the Museum of Modern Art in New York performing Charles Ives' The Unanswered Question, Halsey Stevens' Suite No. 1, Henry Brant's Signs and Alarms, Lou Harrison's Canticle No. 3, Peggy Glanville-Hicks' Letters from Morocco, and Jacob Avshalomov's Evocations.

At the urging of his manager, Andrew Schulhof, Stokowski accepted the position of conductor of the Houston Symphony Orchestra in 1956 and continued in that position until 1960. The idea of building another orchestra appealed to Stokowski and he hoped to be able to raise his sons in Texas. As he had with earlier orchestras he refined the sound, premiered contemporary works and recorded extensively with EMI and Everest. Stokowski toured the Soviet Union in 1958 and played ten concerts with three Soviet Orchestras.

Eugene Ormandy invited Stokowski to return to Philadelphia in January 1959 to guest conduct the Philadelphia Orchestra. Stokowski performed Mozart's Overture to The Marriage of Figaro; Falla's El amor brujo, with Shirley Verrett as soloist; Respighi's The Pines of Rome; and Shostakovich's Symphony no. 5 to an enthusiastic standing ovation as Philadelphians welcomed him back after nearly twenty years absence.

Following the sudden death of Dimitri Mitropoulous in November 1960, Rudolf Bing of the Metropolitan Opera invited Leopold Stokowski to conduct the Opera's upcoming performance of Puccini's Turandot, scheduled for 24 February 1961. A few days before the end of December, Stokowski fell and broke his hip while playing with his boys. Although he was in pain during rehearsals and used crutches to enter the orchestra pit, his performance of Turandot was highly praised by the critics. The Met brought Turandot to Philadelphia on March 22 for a performance at Philadelphia's Metropolitan Opera House. Stokowski opened the 1961 Edinburgh Festival in August with a performance of Schoenberg's Gurrelieder with the London Symphony Orchestra and the Edinburgh Royal Choral Union. Leopold Stokowski founded the American Symphony Orchestra in New York City in 1962. Again, as he had done with the All-American Youth Orchestra, Stokowski auditioned and hired young musicians, many of them women and minorities, to play with a few seasoned hands. Stokowski conducted this orchestra without pay and made some of its deficits up out of his own pocket. In 1965 Stokowski succeeded in fulfilling a long-held desire B to give the world premier of Charles Ives' Symphony no. 4 with the American Symphony Orchestra. Stokowski was 83 years old; he rehearsed the symphony for two months with special funding from the Rockefeller Foundation. The performance, with three conductors, was a landmark. Stokowski recorded the symphony shortly thereafter.

On 1 May 1972, a few weeks after Stokowski had celebrated his 90th birthday, Stokowski submitted his resignation to the Board of Directors of the American Symphony Orchestra. Stokowski had made plans to move to England where he had contacts in the recording industry at London-Decca and where he could continue to guest conduct the London Symphony Orchestra. He bought an old farmhouse in Nether Wallop and made plans for its renovations. Stokowski conducted New Philarmonia in 1974 which was to be his last performance for the public in England. He continued to make recordings. In 1975 he was in the process of building a house near St. Paul de Vence on the Riviera in France, which Stokowski named Con Brio. There he met Marc Chagall and admired Matisse's chapel. The house was completed in 1976 and Stokowski spent time in France whenever he was not working on recordings in England.

Stokowski died at his home in Nether Wallop, Stockbridge, Hampshire on 13 September 1977 at the age of 95 years. He had made more than twenty recordings since his 90th birthday and was studying the Rachmaninoff Symphony No. 2 in preparation for a recording session at the time of his death. Stokowski was buried in a private ceremony in the Marylebone Cemetery in London. His friend and admirer former Prime Minister Edward Heath delivered the eulogy.

This brief sketch of Leopold Stokowski's life cannot possibly cover all the significant events and contributions he made to music in the twentieth century. Stokowski had a strong desire to make great music accessible to people in all walks of life and welcomed developments in recording technology, film, radio, and television which made this possible. In 1943 he published a book titled Music for All of Us in which he tried to introduce both his technical and spiritual understanding of music to the public. In an interview with Robert Dumm in New York while Stokowski was conductor of the Houston Symphony Orchestra, Stokowski said, "My idea of conducting is something very simple. It is to try by every means possible to convey from the composer... his inspiration, the beauty of his music, the meaning of his music, the dynamic of his music, or perhaps sometimes the mystery of his music to the listener. And, we, the orchestra in between...we're merely means to an end. We=re like an electric wire that runs from one place to another and conveys electricity to a lamp, we might say, to give light."

Although Stokowski's collection of scores and transcriptions (University of Pennsylvania Ms. Coll. 350 and Ms. Coll. 351) was safely preserved following his death in 1977, his personal papers and effects were reportedly lost from the deck of a ship while being sent from England to the United States. The papers in this collection are therefore limited in scope and come from four sources: 1) correspondence and notes laid into Stokowski's scores plus a few other items, including awards and memorabilia; 2) donations from individuals with whom he corresponded, notably Sylvan Levin, Edna Phillips, Boris Koutzen (items donated by Nadia Koutzen), and others; 3) Stokowskiana collected by The Curtis Institute of Music; and 4) materials discovered in a trap door to the side of the firebox in the living room of the home Stokowski built at 9330 Beverlycrest Drive, Beverly Hills, California.

This last group of papers, donated to the University of Pennsylvania in July 1999 by the owner of the house, Stephan Simon, comprises incoming correspondence; carbon copies of Stokowski's outgoing correspondence; a few photographs; his notes on plans to form an electric orchestra; notes on housekeeping, employees, and gardening; bank statements; royalty statements; insurance records; and contracts. These date from ca. 1937-1946, although some of the contracts are earlier in date (as early as 1925), including recording contracts with the Victor Talking Machine Company (1929, 1930) and RCA Victor (1935, 1937-1940). These papers provide a rare glimpse into the conductor's everyday life after his move to California in 1936.

After Stokowski's death in 1977 his executor, Herman Muller, sought to place the collection of Stokowski's music in an institution where it would be accessible to students and scholars. The Curtis Institute of Music in Philadelphia, where Stokowski had served as an early advisor to the Board and conductor of the Curtis Student Orchestra, received the collection on 8 May 1979. Shortly afterwards, in the fall of 1980, Curtis accepted the donation of Robert L. Gatewood's collection of Stokowski recordings and Gatewood's work on a comprehensive Stokowski discography (cataloged separately as Ms. Coll. 383). Other individuals made smaller donations of letters, memorabilia, photographs, and paintings of Stokowski to the Stokowski Collection at the Curtis Institute. In 1997 the Trustees of the Curtis Institute of Music decided to donate these scores and papers to the University of Pennsylvania, which holds the scores and papers of Philadelphia Orchestra conductor Eugene Ormandy and the scores and papers of contralto Marian Anderson. Since their arrival here, the Stokowski collections at the University of Pennsylvania have been augmented by additional donations including the Stephan Simon donation mentioned above; and the Oliver Daniel Research Collection on Leopold Stokowski comprised of research materials for Daniel's 1982 biography of Stokowski (Ms. Coll. 382).

Although the amount of original correspondence the Leopold Stokowski Papers is small, some of it is of great interest. Included is a typed letter to Curtis Bok dated 29 July 1941 following Stokowski's final break with the Philadelphia Orchestra in which Stokowski is supportive of the Orchestra, and therefore keeping his silence about the politics surrounding it. Stokowski, always forward looking, writes excitedly about his new venture, the All-American Youth Orchestra. The letter is signed "Prince," Stokowski's nickname in the Bok family. Stokowski wrote to Eleanor Roosevelt in February 1940 to gain her support and interest in the South American tour he was planning with the All-American Youth Orchestra. The most extensive correspondence in the collection are Stokowski's letters to his assistant conductor, Sylvan Levin, from 1929-1953, comprising over 100 items discussing details of management and rehearsals for the Philadelphia Orchestra; the preparation for Stravinsky's Oedipus Rex; and notes on singers and instrumentalists. Stowkoski's letters to Robert Gordon Sproul, president of the University of California, Berkeley, detail his plans to form an Electric Symphony Orchestra and his plans to rehearse and perform on the Berkeley campus in 1938. There is an autograph letter from Eugene Ormandy, dated 1 June 1937 regarding Stokowski's plans to conduct in Budapest that summer. There are also a few personal letters, including five letters from Stokowski to his daughter Sonya, dated 1937 to 1939 expressing his interest in her plans and his concern that her activities not be publicized for fear that she might be kidnaped (in the aftermath of the Lindbergh baby kidnaping).

Among the most interesting items in the Leopold Stokowski Papers is Stokowski's audition book. He auditioned hundreds of young performers, rated them on a scale and made comments about their performance and potential. The book is undated but many people who auditioned for him remember it, and it was in use during Stokowski's years with the American Symphony Orchestra, 1962-1972.

The Leopold Stokowski Papers include a limited number of Stokowski's programs (1916-1974). A more complete chronological listing of Stokowski's programs can be found in the Oliver Daniel Research Collection on Leopold Stokowski (Ms. Coll. 382). However, later programs of performances of Stokowski transcriptions are found here, dated 1977-1995, as the Stokowski transcriptions continue to be rented and performed by orchestras around the world.

Several hundred photographs of Leopold Stokowski are preserved and arranged chronologically in two albums. Additional oversize photographs are located in Box 41 and map drawer 61.

Awards and memorabilia in the Leopold Stokowski Papers include the parchment scroll designed and executed by Violet Oakley which forms part of the Philadelphia Award given to Stokowski in 1922 by Edward W. Bok. The Bok family donated an organ roll for a Duo-Art Aeolian Pipe Organ on which Stokowski recorded Bach's Passacaglia. The organ roll was given by Stokowski to Edward and Mary Louise Curtis Bok as a Christmas gift in 1925, and may be the only recording of Stokowski playing the organ.


Chasins, Abram. 1979. Leopold Stokowski : A Profile. E. P. Dutton. Daniel, Oliver. 1982. Stokowski : A Counterpoint of View. New York: Dodd, Mead, & Co. Johnson, Edward, ed. 1973. Stokowski : Essays in Analysis of his Art. Kupferberg, Herbert. 1969. Those Fabulous Philadelphians. New York: C. Scribner's Sons. McGinn, Robert E. 1983. "Stokowski and the Bell Telephone Laboratories: Collaboration in the Development of High Fidelity Sound Reproduction," Technology and Culture Jan 1983. O'Connell, Charles. 1949. "Leopold Stokowski" in The Other Side of the Record. New York: Alfred A. Knopf. Opperby, Preben. 1982. Leopold Stokowski. Tunbridge Wells, Kent: Midas Books. Smith, William Ander. 1983. "Leopold Stokowski: A Re-evaluation," American Music 1 no. 3 (Fall, 1983): 23-37. Smith, William Ander. 1990. The Mystery of Leopold Stokowski. Rutherford, [N.J.]: Fairleigh Dickinson University Press. Smith, William Ander. "Leopold Stokowski" American National Biography. Stokowski, Leopold. 1943. Music for All of Us. New York: Simon and Schuster. Wister, Frances Anne 1925. Twenty-five Years of the Philadelphia Orchestra, 1900-1925. Philadelphia: Edward Stern & Co.

Gift of Curtis Institute of Music, 1997 and Stephan Simon, 1999

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Finding Aid Author
Margaret Kruesi
Finding Aid Date
The processing of the Leopold Stokowski Papers and the preparation of this register were made possible by a grant from the National Endowment for the Humanities.
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Series Description

Arranged alphabetically by correspondent, then chronologically within each folder or series of folders. Items of incoming and outgoing correspondence are interfiled.

Adler, Larry, letter to Stokowski (1 item), 1939.
Box 1 Folder 1
Albright, C. Jeré, letters to Stokowski with score of Polyphony for Orchestra (2 items), 1972, undated.
Box 1 Folder 2
Amirov, Fikret, 1922-1984, correspondence with Stokowski (item from Amirov in Russian) (2 items), 1959-1964.
Box 1 Folder 3
Associated Music Publishers, correspondence with Stokowski, including letters from William McKelvy Martin regarding the concert for the Hollywood Committee for Polish Relief, letter signed by Karl F. Bauer regarding Carl Orff's Die Kluge with annotations by Stokowski, and invoices (7 items), 1938-1956.
Box 1 Folder 4
Backhaus, Wilhelm, 1884-1969, letter to Stokowski, including a copy of an endorsement for Bruno Helberger's instrument, the Hellertion (1 item), 1937.
Box 1 Folder 5
Bampton, Rose, letters from Stokowski, three of which are in reference to the concert for the Hollywood Committee for Polish Relief (4 items), 1939.
Box 1 Folder 6
Barlevy, Louis, letter to Stokowski regarding Léon Thérémin's instrument (1 item), 1939.
Box 1 Folder 7
Bebo de Grandprey, letter from Stokowski (1 item), 1938.
Box 1 Folder 8
Bell Telephone Laboratories, Inc., letter from Stokowski to Dr. Harvey Fletcher (1 item), 1938.
Box 1 Folder 9
Ben-Haim, Paul, 1897-1984, letters to Stokowski, including one letter from Ben-Haim, and two letters from Israeli Music Publications Limited regarding Ben-Haim's Concerto for piano and orchestra, one signed Peter Gradenwitz (3 items), 1963.
Box 1 Folder 10
Bok, Curtis, 1897-1962, typed letter signed by Stokowski, 1941.
Box 1 Folder 11
Boosey and Hawkes, Inc., correspondence with Stokowski, including one regarding Prokofiev's Sur le Borysthene and one invoice (7 items), 1937-1966.
Box 1 Folder 12
Broude Brothers Limited, letters to Stokowski, including an invoice for a Prokofiev score and one letter from Ivan Wiener regarding an agreement for Stokowski's works (2 items), 1944.
Box 1 Folder 13
Brown, Beatrice, letter to Stokowski and a flyer for the Ridgefield Symphonette's 1973-1974 season (2 items), undated.
Box 1 Folder 14
Brzyski, Anthony, letter from Stokowski (1 item), 1939.
Box 1 Folder 15
Burton, Barbara, correspondence with Stokowski, including five items regarding the donation of items to the Curtis Institute of Music in 1984, and two items from the curator Edwin Heilakka (17 items), 1942-1984.
Box 1 Folder 16
Butterfield, Don, letter to Stokowski sent with a recording of Don Butterfield's Trio for Tubas (1970) and includes a photocopy of Butterfield's notes about the composition (1 item), 1971.
Box 1 Folder 17
C. F. Peters Corporation, letter to Stokowski regarding Bruckner's Symphony no. 4 (1 item), 1968.
Box 1 Folder 18
Carl Fischer Music, letter to Stokowski regarding Webern's Im Sommerwind (1 item), 1966.
Box 1 Folder 19
Chaliapin, Fyodor Ivanovich, 1873-1938, letter from Stokowski regarding Liturgy (1 item), 1944.
Box 1 Folder 20
Charles Foley, Inc., correspondence with Stokowski and Sylvia Voorhees regarding Rachmaninoff's Trois Chansons Russes (2 items), 1966.
Box 1 Folder 21
Christ, Georgette, letter to Stokowski (in French) (1 item), 1938.
Box 1 Folder 22
Clement, Lewis H., letters from Stokowski (2 items), 1922.
Box 1 Folder 23
Cohen, J. Solis, letter from Stokowski regarding plans for a Temple of Music in Philadelphia (1 item), 1927.
Box 1 Folder 24
Coleman, Ronald, letter from Stokowski (1 item), 1939.
Box 1 Folder 25
Cone, Edward T., letter to Stokowski (1 item), 1965.
Box 1 Folder 26
Cowell, Henry, 1897-1965, letters to Stokowski, also includes two letters from Sidney Cowell to Edwin E. Heilakka of the Curtis Institute of Music with an extract from a letter from Sidney Cowell regarding Cowell's Concerto for Koto and Orchestra 1 (4 items), 1959-1993.
Box 1 Folder 27
Curtis Institute of Music, letter from Stokowski addressed to William E. Walter, executive director regarding Stokowski's contract (1 item), 1925.
Box 1 Folder 28
Daniel, Oliver, letters to Stokowski regarding scores for Stokowski [these letters were found in the scores] (2 items), 1963-1966.
Box 1 Folder 29
De Gastyne, Serge, letter to Stokowski, typed text of "The River" by Hart Crane, and a program for the United States Air Force Symphony Orchestra performing De Gastyne's Symphony no. 6 (3 items), 1974.
Box 1 Folder 30
Deagan, J. C., letter from Stokowski (1 item), 1938.
Box 1 Folder 31
Disney, Walt, 1901-1966, letter from Stokowski regarding recording the Sorcerer's Apprentice (photocopy) (1 item), 1937.
Box 1 Folder 32
Dubensky, Arcady, 1890-1966, letter to Stokowski regarding Mussorgsky's Khovanshchina and 1 leaf of a program of the Orquesta Sinfónica de México, also in reference to Mussorgsky (2 items), 1961.
Box 1 Folder 33
Durbin, Deanna, letter to Stokowski (1 item), 1939.
Box 1 Folder 34
Eliot, R. P., correspondence with Stokowski (3 items), 1937.
Box 1 Folder 35
Elkan, Henri, 1897-1980, letter from Stokowski regarding the production of Alban Berg's Wozzeck in Philadelphia, and one letter to Sylvan Levin, who was in charge of the preparation of the orchestra from Stokoski (2 items), 1930.
Box 1 Folder 36
Elkan-Vogel Co., correspondence with Stokowski, Henri Elkan, Adolph Vogel, Michael Myerberg, and George Betz, some regarding the All-American Youth Orchestra (11 items), 1937-1941.
Box 1 Folder 37
Elkus, Albert, correspondence with Stokowski (2 items), 1937.
Box 1 Folder 38
Ely, Gertrude, correspondence with Stokowski regarding Nadia Boulanger (2 items), 1937.
Box 1 Folder 39
Emerson, John, letter from Stokowski (1 item), 1937.
Box 1 Folder 41
Enesco, Georges, 1881-1955, letter from Stokowski (1 item), 1937.
Box 1 Folder 42
Enoch & Cie, correspondence with Stokowski, plus miniature score of Ravel's orchestration of Chabrier's Menuet pompeux (in French) (2 items), 1937.
Box 1 Folder 43
Erlanger, correspondence from Stokowski (1 item), 1937.
Box 1 Folder 44
Ermolov, Boris Nikolaevich, correspondence with Stokowski including four items from Ermolov of the Byzantine Institute regarding the translation of Tchaikovsky's Cherubim Song; five items from Stokowski including one to the Novello Co.; two items from the Novello Co.; and copies of a program (with corrected proof sheets) of a cappella music directed by Stokowski in honor of Vladimir Bakaleinikoff on February 13, 1954, at the Heinz Memorial Chapel, University of Pittsburgh (15 items), 1953-1954.
Box 1 Folder 45
Fairmont Hotel (San Francisco, California ), letter to Stokowski (1 item), 1938.
Box 1 Folder 46
Federal Arts Committee, telegram from Muriel Olandt to the Federal Arts Committee concerning the Federal Music Project (1 item), 1938.
Box 1 Folder 47
Finston, Nathaniel, correspondence with Stokowski including one item from Finston and one item from Stokowski regarding the Hollywood Committee for Polish Relief (2 items), 1939.
Box 1 Folder 48
Fleisher, Alfred W., letter from Stokowski (1 item), 1927.
Box 1 Folder 49
Fles, Barthold, correspondence with Stokowski regarding compositions by Witold Lutoslawski, 1965 [see folder 49] (3 items), 1965-1967.
Box 1 Folder 49
Fles, Barthold, correspondence with Stokowski regarding compositions by Witold Lutoslawski, 1965 [see folder 49] (3 items), 1965-1967.
Box 3 Folder 170
Ford Foundation, letter from Stokowski addressed to John Turner regarding Carmina Burana (1 item), 1954.
Box 1 Folder 50
Franceschini, Romulus, letter to Stokowski (1 item), 1967.
Box 1 Folder 51
Frankenstein, Alfred V. (Alfred Victor), 1906-1981, letter to Stokowski (1 item), undated.
Box 1 Folder 52
Frederiksen, Sigurd, correspondence with Stokowski, including programs and reviews of Frederiksen's work (2 items), 1937.
Box 1 Folder 53
Free Library of Philadelphia, correspondence with Stokowski (2 items), 1939.
Box 1 Folder 54
G. Schirmer, Inc., correspondence with Stokowski, Carl Engel of Schirmer regarding Bruno Helberger's instrument, the Hellertion, and H. W. Heinsheimer regarding Schirmer publications (8 items), 1937-1956.
Box 1 Folder 55-56
Galaxy Music, correspondence with Stokowski and A. Walter Kramer (3 items), 1938.
Box 1 Folder 57
General Motors Corporation. Oldsmobile Division, letter from Stokowski (1 item), 1940.
Box 1 Folder 58
George, Ina, correspondence with Stokowski, including an ozalid copy of a song she wrote and dedicated to him titled "This Is'nt [sic] Love", 1937.
Box 1 Folder 59
Gerhard, Charles E., letter from Stokowski, also includes an item from Ruth J. Flower, Gerhard's niece, and an item from the Curtis Institute of Music regarding Flower's donation of the Stokowski letter to Curtis (1 item), 1930.
Box 1 Folder 60
Gesensway, Louis, 1906-1976, letters from Stokowski (2 items), 1948-1949.
Box 1 Folder 61
Gilman, Lawrence, 1878-1939, correspondence with Stokowski, letter from Gilman mentions Ives work (2 items), 1939.
Box 1 Folder 62
Glière, Reinhold Moritsevich, 1875-1956, correspondence with Stokowski, including Stokowski's notes, liner notes and other items inserted in Stokowski's score of Glière's Symphony no. 3; and a letter from Kenneth Haas of the Cleveland Orchestra (item from Glière in Russian, printed notes in Russian and French; other items in English) (7 items), 1949-1971.
Box 1 Folder 63
Golden Gate International Exposition (San Francisco, California, 1939-1940), correspondence with Stokowski, including letters regarding items purchased at the Indochina Pavilion, with items from Railway Express Agency and others tracing the purchases (10 items), 1939.
Box 1 Folder 64
Graff, Kurt, letter to Stokowski (1 item), 1955.
Box 1 Folder 65
Grainger, Percy, 1882-1961, correspondence with Stokowski and Richard Mohr of RCA Victor in reference to recording Grainger's work, includes notes by Stokowski (4 items), 1950.
Box 1 Folder 66
Great Valley Mills (Paoli, Pennsylvania), correspondence with Stokowski, including pamphlets and recipes from Great Valley Mills and order blanks and nutritional newsletter from Thomas Martindale & Co. and the Lust Health Food Bakery (11 items), 1938-1939.
Box 1 Folder 67
Grechaninov, Aleksandr Tikhonovich, 1864-1956, correspondence with Stokowski (item from Grechaninov is in French) (2 items), 1939.
Box 1 Folder 68
Grossman, Norman, letters to Stokowski (2 items), 1959-1960.
Box 1 Folder 69
Gutchë, Gene, 1907-2000, correspondence with Stokowski (3 items), 1967-1968.
Box 1 Folder 70
Guy Price Company, letter from Stokowski (1 item), 1939.
Box 1 Folder 71
Habenicht, Walter, correspondence with Stokowski (in German (from Habenicht) and English) (2 items), 1938.
Box 2 Folder 72
Hammond, Richard P., letters from Stokowski (2 items), 1938-1939.
Box 2 Folder 74
Hansen, Wilhelm, correspondence with Stokowski (2 items), 1938.
Box 2 Folder 75
Harvey, Fred, correspondence with Stokowski (2 items), 1938.
Box 2 Folder 73
Hearst, Siegfried, letter to Stokowski (1 item), 1959.
Box 2 Folder 76
Herrmann, Bernard, 1911-1975, correspondence with Stokowski, containing carbon copies of letters from Herrmann to Carol Fox, Lyric Opera House, Chicago and to William Schuman at Juilliard referencing his opera Wuthering Heights [these items, marked by Stokowski, and 1 leaf notes were found in the score] (3 items), 1958.
Box 2 Folder 77
Hewitt, Harry, 1921-2003, letter to Stokowski regarding Hewitt's composition Ode (1 item), 1960.
Box 2 Folder 78
Hewson Handcraft Shop, letter from Stokowski (1 item), 1937.
Box 2 Folder 79
Hindin, Lilette, correspondence with Stokowski (2 items), 1976, undated.
Box 2 Folder 80
Hofmann, Josef, 1876-1957, letter from Stokowski, includes an item to Natalie Bender (1 item), 1939.
Box 2 Folder 81
Hollywood Book Store, correspondence with Stokowski (2 items), 1944.
Box 2 Folder 82
Hollywood Committee for Polish Relief, draft letter from Stokowski regarding the work of the committee and a telegram from Archbishop Cantwell of Los Angeles in response (2 items), 1939.
Box 2 Folder 83
Holmes, Bettie, president of the Cincinnati Symphony Orchestra, photocopies of letters to Stokowski (9 items), 1908-1912.
Box 2 Folder 84
Hotel Mark Hopkins (San Francisco, California ), correspondence with Stokowski (3 items), 1938-1939.
Box 2 Folder 85
Hovhaness, Alan, 1911-2000, letters to Stokowski regarding Ad Lyram and Exile Symphony (2 items), 1957, undated.
Box 2 Folder 86
Hughes, Russell Meriwether, 1898-1988, letters to Stokowski and Guido Carreras on behalf of La Meri with enclosures: a copy of the February 1944 program at the Ethnologic Dance Center and La Meri's essay "Tchaikowsky's 'Swan Lake' in the idiom of the Indian dance" (3 items), 1944.
Box 2 Folder 94
International Committee of YMCAs, letter to Stokowski (1 item), 1940.
Box 2 Folder 87
Ithaca College, correspondence with Stokowski and Howard Dillingham, president of Ithaca College regarding Stokowski's upcoming visit; a letter from Stokowski's assistant Jack Baumgarten regarding a score; and notes for Boito's Mefistofele in Stokowski's hand [all three items were in the score] (3 items), 1967.
Box 2 Folder 87
Iturbi, Jose, 1895-1980, correspondence with Stokowski regarding the Hollywood Committee for Polish Relief (4 items), 1939.
Box 2 Folder 88
Kassern, Tadeusz, 1904-1957, correspondence with Stokowski regarding his Modern Piano Album (3 items), 1949.
Box 2 Folder 89
Kestenberg, Leo, 1882-1962, correspondence with Stokowski regarding inviting Stokowski to conduct the Palestine Symphony Orchestra (2 items), 1938-1939.
Box 2 Folder 90
Kleinhans Music Hall, letter from Stokowski to Esther L. Link regarding acoustics in the hall (1 item), 1939.
Box 2 Folder 91
Koster, Henry, 1905-1988, letters to Stokowski (2 items), 1939.
Box 2 Folder 92
Koutzen, Boris, letters from Stokowski (10 items), 1923-1964.
Box 2 Folder 93
League of Composers (United States), letter to Stokowski from Claire R. Reis (1 item), 1939.
Box 2 Folder 94
Leimer, Kurt, 1920-1974, letter to Stokowski (in German) (1 item), 1968.
Box 2 Folder 95
Leonard, E. Louise, correspondence with Stokowski (2 items), 1937-1938.
Box 2 Folder 96
Leshock, Malvina, letter to Stokowski (1 item), undated.
Box 2 Folder 97
Levin, Sylvan, correspondence with Stokowski concerning management and programming of the Philadelphia Orchestra; includes items from Agustin Batista, Arthur Judson, Mildred E. Geiger, William Grant Still, Eugene Ormandy, Dorothy Ziegler, Vincent Vanni, and 1 item from Stokowski to Newbold Morris (115 items), 1929-1953.
Box 2 Folder 98-102
Lineback, Hugh, correspondence with Stokowski (2 items), 1938.
Box 2 Folder 103
Loos, Anita, 1893-1981, letter from Stokowski addressed to Mrs. John Emerson (1 item), 1937.
Box 1 Folder 40
Lynn, George, correspondence with Stokowski and Lucile Lynn, one letter regarding George Lynn's work, The Gettysburg Address (4 items), 1967.
Box 2 Folder 104
MacDonald, Jeanette, 1903-1965, letter to Stokowski regarding the Hollywood Committee for Polish Relief (1 item), 1939.
Box 2 Folder 105
Majewski, Virginia, correspondence with Stokowski, including letters of recommendation from Stokowski on behalf of Majewski sent to Gordon Jenkins, NBC; Lud Gluskin, CBS; Peter Conley, War Memorial Opera House, San Francisco; and Eugene Ormandy, Philadelphia Orchestra (6 items), 1939.
Box 2 Folder 106
Malraux, Madeleine, letter to Stokowski (in French) (1 item), 1971.
Box 2 Folder 107
Martin, Frank, 1890-1974, letter to Stokowski (in French) (1 item), 1961.
Box 2 Folder 108
Matzenauer, A., correspondence with Stokowski, includes a drawing of Jesus Christ, in pencil (1 item), 1937.
Box 2 Folder 109
Mehra, Lal Chand, letter to Stokowski (1 item), undated.
Box 2 Folder 110
Meijer, Louis, letter to Stokowski (1 item), 1938.
Box 2 Folder 111
Mengelberg, Willem, 1871-1951, letter to Stokowski, consisting of letter of endorsement for Bruno Helberger's instrument [negative copy] (1 item), 1936.
Box 2 Folder 112
Mercury Music Corporation, letter from Stokowski, regarding Riegger's Music for Brass Choir, plus program notes (2 items), 1952.
Box 2 Folder 113
Merrill, Evangeline Johnson, former wife of Stokowski, letters to Stokowski (3 items), undated.
Box 2 Folder 114
Metro-Goldwyn-Mayer, correspondence with Stokowski and Robert Lynch of MGM (4 items), 1937-1938.
Box 2 Folder 115
Metropolitan Opera (New York, N.Y.), correspondence with Stokowski, Rudolf Bing, and Reginald Allen, including letters regarding Stokowski conducting Wagner's Tannhauser at the Farewell Gala for the Met (4 items), 1966.
Box 2 Folder 116
Miller, Charles, 1899-1985, letter to Stokowski regarding his composition Appalachian Mountains (1 item), 1967.
Box 2 Folder 117
Mills Music, Inc., correspondence with Stokowski regarding Morton Gould's Symphony no. 2 (1944-1945) and Paul Creston's Corinthians XIII, op. 82 (5 items), 1944-1965.
Box 2 Folder 117
Mok, Michael, 1889-1961, letter from Stokowski [item is torn and missing some text] (1 item), 1938.
Box 2 Folder 119
Moe, Sharon, letter to Stokowski and photocopied reviews (5 items), [1974].
Box 2 Folder 118
Moneak, Elena, letter to Stokowski and pamphlet regarding playing the theremin (2 items), 1939.
Box 2 Folder 120
Monteux, Pierre, 1875-1964, letter from Stokowski (1 item), undated.
Box 2 Folder 121
Morros, Boris, 1891-1963, letter to Charles S. Rogers of Columbia Pictures regarding Stokowski (1 item), 1940.
Box 2 Folder 122
Music Shop (Hollywood, California ), correspondence with Stokowski (4 items), 1944.
Box 2 Folder 123
Musser, Clair Omar, correspondence with Stokowski regarding electric instruments and suggested musicians for Stokowski's Electric Symphony (2 items), 1938.
Box 2 Folder 124
N. V. Sprenger Gramophoon en Radiohandel, correspondence from Stokowski (1 item), 1940.
Box 3 Folder 125
National Symphony Orchestra (Washington, D. C.), letters to Stokowski (2 items), 1971.
Box 3 Folder 126
Netherlands. Ambassade (United States), letter from Stokowski (1 item), 1939.
Box 3 Folder 127
New York Public Library, letter to Stokowski from Carleton Sprague Smith regarding Stölzel's Concerto grosso a quattro chori (1 item), 1949.
Box 3 Folder 128
Newman, George, correspondence with Stokowski regarding Mussorgsky/Stokowski Pictures at an Exhibition (2 items), 1963.
Box 3 Folder 129
Novello & Company, correspondence with Stokowski regarding orchestral parts for Handel's Saul (3 items), 1964.
Box 3 Folder 130
Öki, Masao, 1901-1971, letter to Stokowski and letter from ASCAP regarding Öki's score Hiroshima (2 items), 1970.
Box 3 Folder 131
Ormandy, Eugene, 1899-1985, letter to Stokowski (1 item), 1937.
Box 3 Folder 132
Ouspenskaya, Maria, 1876-1949, correspondence with Stokowski (2 items), 1939.
Box 3 Folder 133
Oxford University Press. Music Department, letters to Stokowski, with twelve leaves of notes (composer's corrections) for Walton's Symphony no. 2 (4 items), 1960.
Box 3 Folder 134
Packard Bell Electronics, letter from Stokowski concerning electric instruments (1 item), 1938.
Box 3 Folder 135
Panufnik, Andrzej, 1914-1991, correspondence with Stokowski, includes program notes for Panufnik's Symphony no. 3 (5 items), 1963.
Box 3 Folder 136
Paramount Pictures Corporation (1914-1927), correspondence with Stokowski and George L. Bagnell at Paramount (3 items), 1938.
Box 3 Folder 137
Pascal, Gabriel, 1894-1954, correspondence with Stokowski regarding Greta Garbo (5 items), 1940.
Box 3 Folder 138
Pattison, Lee, correspondence with Stokowski (4 items), 1939.
Box 3 Folder 139
Peers de Perkins, Carmen, correspondence with Stokowski, including a note in Stokowski's hand regarding the music of Silvestre Revueltas and an article on his music by Max March (5 items), 1963, undated.
Box 3 Folder 140
Perkins, Ed, letter from Stokowski (1 item), 1939.
Box 3 Folder 141
Perlowsky, Henry, correspondence with Stokowski (6 items), 1937-1938.
Box 3 Folder 142
Philadelphia Opera Company, letter from Stokowski addressed to C. David Hocker (1 item), 1939.
Box 3 Folder 143
Philadelphia Orchestra Association, correspondence with Stokowski and Arthur Judson regarding the state of the Philadelphia Orchestra Library [photocopy]; Alfred Reginald Allen regarding Stokowski's 1938-1939 contract with the Orchestra, recordings for RCA Victor, and the schedule for recording for Walt Disney, plus other matters [with markings in Stokowski's hand]; includes three statements of payments by the Philadelphia Orchestra to Stokowski for conducting in March and April 1941 (5 items), 1920-1941.
Box 3 Folder 144
Phillips, Edna, 1907-2003, letters from Stokowski (4 items), 1931-1942.
Box 3 Folder 145
Planetary Citizens, invitations to Stokowski from Donald Keys (2 items), 1975-1976.
Box 3 Folder 146
Plowe, Owen, letter from Stokowski (1 item), 1938.
Box 3 Folder 146
Polish Intercollegiate Club, letter to Stokowski (1 item), 1939.
Box 3 Folder 147
Pons, Lily, 1898-1976, correspondence with Stokowski regarding benefit for the Hollywood Committee for Polish Relief (2 items), 1939.
Box 3 Folder 148
Potts, Frederic A., President of the Philadelphia National Bank, letter from Stokowski concerning the bank's bell (1 item), 1962.
Box 3 Folder 149
Putnam, George Palmer, 1887-1950, letter from Stokowski (1 item), 1939.
Box 3 Folder 151
Pyle, Thomas, correspondence with Stokowski regarding a performance of Handel's Messiah (2 items), 1966.
Box 3 Folder 152
Quinn, T. K., correspondence with Stokowski and Michael Myerberg on behalf of Stokowski concerning sponsorship for the Philadelphia Youth Orchestra (1 item), 1937.
Box 3 Folder 153
Radio Corporation of America, correspondence with Stokowski, E. Wallerstein, and Charles O'Connell regarding Stokowski's Electric Symphony Orchestra and Stokowski's recordings of The Sorcerer's Apprentice [see also: Contracts for additional correspondence with Charles O'Connell regarding contracts] (14 items), 1929-1940.
Box 3 Folder 154, 372-375
Ran, Shulamit, letter to Stokowski from Ran's representative (1 item), 1969.
Box 3 Folder 155
Rapée, Erno, 1891-1945, correspondence with Stokowski (2 items), 1938.
Box 3 Folder 156
Rasbid, letter to Stokowski (1 item), 1938.
Box 3 Folder 157
Richard Wagner Society, correspondence with Stokowski and Robert Wagner (4 items), 1937-1938.
Box 3 Folder 159
Ricordi (Firm), letters to Stokowski (2 items), 1940-1958.
Box 3 Folder 160
Riegger, Wallingford, 1885-1961, correspondence with Stokowski regarding Riegger's New dance (6 items), 1954.
Box 3 Folder 161
Rockefeller Foundation, letter from Stokowski (1 item), 1938.
Box 3 Folder 162
Roosevelt, Eleanor, 1884-1962, letter from Stokowski concerning his All-American Youth Orchestra tour (1 item), 1940.
Box 3 Folder 163
Rudolph Wurlitzer Company, correspondence with Stokowski and Rudolph Wurlitzer regarding electrical organs and electrical pianos (5 items), 1938.
Box 3 Folder 164
Rush, Raphael, letter from Stokowski regarding the score of the Borodin Symphony no. 3 (1 item), 1939.
Box 3 Folder 165
Ryman, Sidney A., letter from Stokowski (1 item), 1939.
Box 3 Folder 166
Sam Fox Publishing Co., letter to Stokowski regarding scores of Dallapiccola's Due Pezzi and Monteverdi's Il Vespro della beata vergine (1 item), 1952.
Box 3 Folder 167
Scholz, Bernard W., correspondence with Stokowski regarding Bruno Helberger's instrument, the Hellertion (2 items), 1937.
Box 3 Folder 168
Seesaw Music Corp., letter to Stokowski regarding the score of Paul Reif's Fanfare and Fugato (1 item), 1969.
Box 3 Folder 169
Serebrier, José, letter to Stokowski (1 item), 1964.
Box 3 Folder 170
Sharfsin, Joseph, attorney to Stokowski, correspondence with Stokowski regarding investments, obtaining patent for a trademark, property settlement in his divorce from Evangeline Johnson, Stokowski's proposed trip to South America, and other matters (24 items), 1937-1940.
Box 14 Folder 368-369
Shell Union Oil Corporation, letter to Stokowski (1 item), 1937.
Box 3 Folder 171
Southern California Fine Arts, Inc., correspondence with Stokowski and Walter Denman Holsinger concerning an arts center (2 items), 1940.
Box 3 Folder 172
Soviet Union. Posolstvo (United States), correspondence with Stokowski and C. Oumansky regarding Mussorgsky's Night on Bald Mountain (4 items), 1938-1939.
Box 3 Folder 173
Sproul, Robert Gordon, 1891-1975, correspondence with Stokowski regarding Stokowski's plans for an Electric Symphony (4 items), 1938-1939.
Box 3 Folder 174
Stojowski, Sigismund, 1870-1946, letters from Stokowski (2 items), 1939.
Box 3 Folder 175
Taylor, Deems, 1885-1966, letter to Stokowski concerning his composition Circus day, published in 1934 [the saxophone parts that he describes as able to be cued in are on a leaf laid into Stokowski's score for Circus day, Ms. Coll. 350, Box 221] (1 item), after 1934.
Box 3 Folder 176
Tcherepnin, Alexander, 1899-1977, correspondence with Stokowski regarding his compositions Suite géorgienne and Symphonic prayer (Tcherepnin's letters are in French) (3 items).
Box 3 Folder 177
Thomson, Virgil, 1896-1989, letter to Stokowski (1 item), undated.
Box 3 Folder 178
Thorbecke, Sonya Stokowski, daughter of Stokowski, carbon copy letters from Stokowski (5 items), 1937-1939.
Box 3 Folder 179
Thurin, Lona, correspondence with Stokowski (6 items), 1938.
Box 3 Folder 180
Time, Inc., correspondence with Stokowski and John Haeseler, including 3 quotations from Stokowski to be used in the "March of Time" (5 items), 1937.
Box 3 Folder 181
Trinity School (New York, N.Y.), letter to Stokowski, with tribute to Stokowski from the school, signed by the students (1 item), 1963.
Box 3 Folder 182
Tsurunen, Marutei, correspondence with Stokowski and Jussi Jalas, including notes in reference to Jean Sibelius' Jedermann (Everyman) (7 items), 1962.
Box 3 Folder 183
United Palestine Appeal (United States), correspondence with Stokowski, Harold Jacobi, and Ben Boyar (2 items), 1938-1939.
Box 3 Folder 184
United States. Dept. of State, correspondence with Stokowski and Cordell Hull (2 items), 1939.
Box 3 Folder 185
United States. Dept. of State. Division of Libraries and Institutes, correspondence with Stokowski and Lawrence Morris regarding Gabrieli's In ecclesiis, plus program notes (2 items), 1949.
Box 3 Folder 186
Waldtaube, letters to Stokowski (2 items), 1939.
Box 3 Folder 187
Wasserman, William, correspondence with Stokowski (2 items), 1939.
Box 3 Folder 188
Weigl, Karl, 1881-1949, letter to Stokowski about Weigl with a note from his wife, Vally (1 item), 1967.
Box 3 Folder 189
Whittemore, letter to Stokowski (1 item), 1939.
Box 3 Folder 190
Williamson, John Finley, 1887-1964, Westminster Choir College, correspondence with Stokowski (6 items), 1938-1940.
Box 3 Folder 191-192
Wilson, R. Jacque, correspondence with Stokowski (3 items), 1938.
Box 3 Folder 193
Wiswell, Jean, letter to Stokowski (1 item), 1938.
Box 3 Folder 194
Wronski, Tadeusz, letter to Stokowski (1 item), 1939.
Box 3 Folder 195
Yale University. Music Library, correspondence with Stokowski and Brooks Shepard, Librarian, concerning Charles Ives' Fourth Symphony; photocopy to Stokowski of a letter from Theodore A. Seder, Curator, Edwin Fleisher Music Collection to Harold Schonberg on the same subject [items were laid in a copy of John Kirkpatrick's A Temporary mimeographed catalogue of the music manuscripts and related materials of Charles Edward Ives, annotated by Stokowski (see Ms. Coll. 493)] (4 items), 1963-1964.
Box 3 Folder 196
Yates, Ernest, correspondence with Stokowski (2 items), 1937-1938.
Box 3 Folder 196
Yeats-Brown, Francis, 1886-1944, correspondence with Stokowski (2 items), 1937-1938.
Box 3 Folder 197
Young, Barbara, letter from Stokowski (1 item), undated.
Box 3 Folder 198

Correspondence generated between 1980 and 1995 related to the Leopold Stokowski Collection. The principal correspondent at Curtis was the curator of the collection, Dr. Edwin E. Heilakka. A copy of the contract of assignment of the scores to Curtis and the Curtis inventory of the collection is filed at the end of this series.

Correspondence, A-K.
Box 4 Folder 199-250
Correspondence, L-W.
Box 5 Folder 251-296
Confirmatory Assignment, 1980.
Box 5 Folder 297-298
Catalog of Stokowski collection.
Box 5 Folder 299
Events, memorabilia, notes about the Stokowski collection.
Box 5 Folder 300


Arranged alphabetically by composer and title of the score.

Box 6 Folder 301-326
Box 7 Folder 327-350

Arranged by subject.

Notebook, loose-leaf, 1930s-1941.
Box 8 Folder 351-352

Comprises typed form letters from Stokowski, annotated in his hand. Includes letters to composers, letters regarding auditions, letters regarding the All-American Youth Orchestra, letters of regret, etc.

Notes regarding electric orchestra, includes a few sketches, undated.
Box 8 Folder 353-354
Notes on Hollywood musicians and orchestra, undated.
Box 8 Folder 355
Notes on Hollywood Committee for Polish Relief , 1939.
Box 8 Folder 356
List of Stokowski's music library, undated.
Box 8 Folder 357
Notes and sketch for the Temple of Music (planned for Philadelphia), undated.
Box 8 Folder 358

Notes, correspondence, and receipts for household management regarding employees, purchases, gardening, utilities, and travel.

Notes, correspondence, 1937-1938.
Box 9 Folder 359
Notes, correspondence, 1939-1940.
Box 9 Folder 360
Notes, correspondence, 1944.
Box 9 Folder 361
Notes, re garden, undated.
Box 9 Folder 362
Receipts, household, misc., 1939-1945.
Box 9 Folder 363
Receipts, garden, 1937-1944.
Box 9 Folder 364
Beverly Hills City Directory, 1951.
Box 9 Folder 365
Travel pamphlets and notes.
Box 9 Folder 366-367

Musical selections played at auditions.

Audition notebook, undated.
Box 10

Arranged by orchestra parts, with Stokowski's comments on and rating of each musician, loose leaf sheets have been placed in mylar for preservation.

Original loose-leaf binder for this audition notebook, repaired with tape, "ASO" on spine.
Box 11
Folder of manuscript music to be played for Stokowski for auditions, "Auditions" on cover.
Box 12
Hand ruled and decorated notebooks.
Box 13

Includes his entries on meetings, rehearsals, visits with his children, birthdays, holidays, etc.

Correspondence, 1937-1940.
Box 14 Folder 368-369

Re Stokowski's plans to register a trademark for "COLORHYTHM;" Stokowski's will; Stokowski's divorce settlement with Evangeline Johnson; and his planned trip to South America (1940).

Paul Stuart Buchanan vs. Leopold Stokowski, Los Angeles County Superior Court, re deposition, 1940.
Box 14 Folder 370
Agreement between Theodore Presser Company, Carl Fischer, Inc., Edward W. Bok and Leopold Stokowski, re Stokowski's composition "Our United States", 1925.
Box 14 Folder 371
Victor Talking Machine Company recording contracts, 1929-1930.
Box 14 Folder 372
Radio Corporation of America recording contract, 1935.
Box 14 Folder 373
Radio Corporation of America extensions of contract and agreements, 1937-1940.
Box 14 Folder 374
Contract draft re concert management for Electric Symphony Orchestra concerts at the San Francisco World's Fair, 1939.
Box 14 Folder 375
Mechanical-Copyright Protection Society Limited royalty statements, 1938-1940.
Box 14 Folder 376
Bank of America deposit/debit slips, 1938-1944.
Box 14 Folder 377
Bank of America statements of account, 1943-1945.
Box 14 Folder 378
Bankers Trust Company statements of account, 1943-1944.
Box 14 Folder 379
Central Hanover Bank and Trust correspondence, deposit/debit slips, 1942-1945.
Box 14 Folder 380
Central Hanover Bank and Trust statements of account, 1943-1944.
Box 14 Folder 381
Chase National Bank correspondence, deposit/debit slips.
Box 14 Folder 382
Chase National Bank statements of accounts, 1943-1945.
Box 14 Folder 383-385
E. F. Hutton & Company, 1937-1944.
Box 14 Folder 386
First National Bank (Philadelphia, Pa.) correspondence, deposit/debit slips, 1938-1941.
Box 14 Folder 387
Hartford National Bank & Trust Co. statements of account, 1945-1946.
Box 14 Folder 388
Philadelphia National Bank blank check.
Box 14 Folder 389
Provident Trust Company of Philadelphia correspondence, 1937-1938.
Box 14 Folder 390
Security-First National Bank of Los Angeles statement of account, 1943.
Box 14 Folder 391
Central Hanover Bank and Trust statements of accounts and Stokowski's notes re maintenance funds, 1942-1944.
Box 14 Folder 392-395
Scarborough School catalog with notes regarding Sadja, 1941-1942.
Box 14 Folder 396
Petty cash account book, not bound; petty cash slips, 1938-1939.
Box 14 Folder 397-398
Miscellaneous financial notes, 1938-1944.
Box 14 Folder 399
Income tax employer's forms, 1942-1944.
Box 14 Folder 400-402
First National Bank Philadelphia, 1933-1940.
Box 15 Folder 403
Bank of America. Hollywood, Calif., 1938-1940.
Box 15 Folder 404
Bank of America. Hollywood, Calif., 1940-1941.
Box 15 Folder 405
Correspondence re automobile insurance, personal property insurance, workmen's compensation policies, 1936-1941.
Box 16 Folder 406-410
Insurance policies, 1938-1941.
Box 16 Folder 411

Stokowski, Leopold. "An Interpretation of Modern Music," in Arts and Decoration , 1922 November.
Box 17 Folder 412
Stokowski, Leopold. Narration for London Records re Beethoven, Symphony no. 9, typescript .
Box 17 Folder 413
Stokowski, Leopold. "The Seating of the Orchestra," in Forum, 1972 Spring .
Box 17 Folder 414
Stokowski, Leopold. "Music and Electronics", undated.
Box 17 Folder 415

This is not a comprehensive collection of writings about Stokowski, however the series of writings by William Ander Smith, who contributed his essay on Stokowski to American National Biography, is reliable.

Biographical sketches and notes.
Box 17 Folder 416
Academy of Music (Philadelphia, Pa.). 115th Anniversary Concert and Ball. Souvenir program, 1972.
Box 17 Folder 417
Biswanger, Ray. "The Stokowski-Wanamaker Concerts" typescript, and "The Story of the Wanamaker Organs," in American Organist 22(9) 50-64 with photocopies of succeeding issues, parts 2 and 3, 1988.
Box 17 Folder 418-420
Columbia Records. "Leopold Stokowski," biographical sketch, circa 1976.
Box 17 Folder 421
Cooke, Hereward Lester. "Acoustical Control of Theatre Design," Journal of the Franklin Institute 208, no. 3 , 1929.
Box 17 Folder 422

This item was found in Stokowski's papers in Beverly Hills, California.

Heilakka, Edwin E. "The Leopold Stokowski Collection at The Curtis Institute of Music," in WFLN Philadelphia Guide, List of transcriptions by Leopold Stokowski, typescript, 1982 April .
Box 17 Folder 423
Johnson, Edward. "Leopold Stokowski: Off the Record," a compilation of record reviews.
Box 17 Folder 424
Johnson, Edward, ed. Stokowski: Essays in Analysis of his Art, 1973.
Box 17 Folder 425-426
Container Summary

2 copies

Knight, John. "Leopold Stokowski Explores Debussy's Orchestral Colors," Instrumentalist 50, no. 9 , 1996 April.
Box 17 Folder 427
Krell, John C. "The 1941 Stokowski All-American Youth Tour," typescript.
Box 17 Folder 428
Marks, Robert W. "Orient Colors Stokowski's Vista," Musical America and Eyer, Ronald F. "The Philadelphia Orchestra," Musical America, 1928 September 15, 1937 January 25.
Box 17 Folder 429
Ovation. Leopold Stokowski Centenary Tribute, 1982 April.
Box 17 Folder 430
Pogue, Samuel F. "Some Unpublished Letters of Stokowski," Notes 46, no. 1, 1989 September.
Box 17 Folder 431

Quarterly Journal of the Music Library Association, re letters at the University of Cincinnati Libraries.

RCA Victor. "Stokowski and the Philadelphia Orchestra" Promotional booklet, circa 1932.
Box 17 Folder 432
Robinson, Paul. "Stokowski" with discography by Bruce Surtees. Lester and Orpen Limited, photocopy (discography only).
Box 17 Folder 433
Smith, William Ander. "Stokowski at One Hundred," South Atlantic Quarterly 81:3 , 1982.
Box 17 Folder 434
Smith, William Ander. "Leopold Stokowski: A Re-evaluation," American Music, 1983 Fall .
Box 17 Folder 435
Smith, William Ander. "Leopold Stokowski," drafts and final copy of biographical essay for American National Biography , 1990, undated.
Box 17 Folder 436
"Stokowski: The Philadelphia Years," The Morton C. Grad Collection, undated.
Box 17 Folder 437

Tape programs and index.

Walt Disney Productions. Fantasia. Story meetings, 1938 September .
Box 17 Folder 438
Review of Stokowski's "Band of Gold," unidentified, undated.
Box 17 Folder 439
Review of Darius Milhaud conducting the Philadelphia Orchestra, typescript, unidentified (mentions Stokowski), undated.
Box 17 Folder 440

Interview transcripts and related items. Ruth O'Neill was a secretary to Arthur Judson when he was manager of the Philadelphia Orchestra and was also secretary to Leopold Stokowski. These interviews were conducted in 1972 in order to document Arthur Judson's contributions to music over his long career. Samuel R. Rosenbaum was a member of the Board of Directors of the Philadelphia Orchestra for many years. Leopold Stokowski and Olga Samaroff Stokowski are mentioned in these interviews.

Leinsdorf, Erich to Ruth O'Neill, from Leinsdort congratulating O'Neill on becoming partner [with Arthur Judson], 1947 December 15.
Box 18 Folder 441
Transcript of tape recording of luncheon meeting at the St. Moritz Hotel, New York, N.Y., 1972 January 6.
Box 17 Folder 442

With the following: Arthur Judson, Ruth O'Neill, Samuel R. Rosenbaum, and John J. Buckley.

Transcript of tape recording of luncheon meeting in New York, N.Y., 1972 March 8 .
Box 18 Folder 443

With the following: Arthur Judson, Ruth O'Neill, Samuel R. Rosenbaum, and John J. Buckley.

Transcript of interview with Ruth O'Neill and Samuel R. Rosenbaum re Arthur Judson, 1972 May 17.
Box 18 Folder 444
Transcript of interview with Ruth O'Neill, Arthur Judson, Samuel R. Rosenbaum, and John J. Buckley, undated.
Box 18 Folder 445
Transcript of interview with Ruth O'Neill, Arthur Judson, and Samuel R. Rosenbaum, circa 1972 April.
Box 18 Folder 446
Transcript of interview with Samuel R. Rosenbaum and Ruth O'Neill in Miss O'Neill's apartment, undated.
Box 18 Folder 447
Rosenbaum, Samuel R. "Henry S. Drinker, An Amateur of Music," with "Amateurs and Muisc" an address by Henry S. Drinker, 1958, 1935.
Box 18 Folder 448

Series Description

Arranged chronologically and includes the following serials:

A. Youth, 1935, undated. Magazine of the Philadelphia Youth Movement, also called Youth Music Magazine, written by and for members of the Youth Concert series and Youth Choruses, founded by Leopold Stokowski in 1932-1933.

B. Toccata. Bulletin of The Leopold Stokowski Society. Founded in 1978 in England, the objects of the Society are to perpetuate and promote interest in the conductor's work; to ensure that his work will continue to be available for study by future music lovers; and to promote the re-issue of the conductor's recorded performances.

C. Maestrino. Journal of The Leopold Stokowski Society of America. Founded in September 1983. First published in Spring 1984 (mailed June 1984). Not a complete run of all issues.

Youth, v. 1-v. 3, 1935 April-October .
Box 19 Folder 449-450
Toccata, Bulletin no. 2 , 1979 March-April - 1981 May-June.
Box 19 Folder 451
Toccata, Bulletin no. 1 , 1979 January - 1982-1983 Winter.
Box 19 Folder 452-473
Toccata, not complete, 1983 Spring - 1998 Winter.
Box 20 Folder 474-502
Maestrino, not complete, 1984 June - 1993 Summer.
Box 21 Folder 503-511


Arranged chronologically.

Programs, 1916 March 2 - 1939 April 8.
Box 22 Folder 512-576

Stokowski conducting the Philadelphia Orchestra, the Philadelphia Civic Opera Company, and Philadelphia Grand Opera Company.

Programs, 1940 March 21 - 1974 May 14.
Box 23 Folder 577-630

Stokowski conducting the Philadelphia Orchestra, the All-American Youth Orchestra, the New York Philharmonic, the NBC Symphony Orchestra, the New York City Symphony, the Hollywood Bowl Symphony Orchestra, the American Composers' Alliance concert, the London Symphony Orchestra, the American Symphony Orchestra, the Boston Symphony Orchestra, the Royal Philharmonic Orchestra and the New Philharomonia.


Arranged alphabetically by the name of the orchestra performing the transcriptions.

Orchestras, A-G.
Box 24 Folder 631-652
Orchestras, I-O.
Box 25 Folder 653-668
Orchestras, P-T.
Box 26 Folder 669-686


Arranged chronologically. For additional photographs of Leopold Stokowski, see Oversize Box 41 and Oversize Map Drawer 61. Photographs of Stokowski and his associates used as illustrations in Oliver Daniel's biography are located in his research collection, Ms. Coll. 382, Boxes 48 and 49.

Box 27
Box 28

Plus photographs of 1982 Centenary celebrations.

Stokowski, Leopold, and Evangeline Johnson, circa 1927-1928.
Box 29

Scrapbook and photograph album. Some items annotated in Stokowski's hand documenting the Stokowskis' world-wide trip? 2 photographs plus memorabilia. Incomplete album, rehoused for preservation.

Curtis Institute of Music, 1982.
Box 30

Stokowski Centennial Celebration. Color and b & w photographs, proof sheets, negatives.

Curtis Institute of Music. Leopold Stokowski Collection .
Box 31

Album compiled by curator Edwin E. Heilakka.. Depicts items in the collection, scores, musical instruments, etc. and events, including the 1982 Stokowski Centennial Celebration.

Stolwein, Sue. Photograph and autograph album, 1923-1964, undated.
Box 32

Celebrities who visited the Russian Inn, Philadelphia [?]. Donor unknown. Date of last inscription to Stolwein is 1951, other photographs may have been added later. It is not clear what the relationship of this album is to other items in the collection, may have contained Stokowski photographs which were integrated into the collection.

All-American Youth Orchestra, 1941.
Box 33

Photocopied clippings and memorabilia.

Edinburgh International Festival, 1961.
Box 34

Scrapbook and photo album compiled by Preben and Mimi Opperby in commemoration of Stokowski's performance of Schoenberg's 1961. Dedicated to Leopold Stokowski.

Hollywood Bowl Summer '72, 50th Birthday Superseason, circa 1972-1984.
Box 34

Compiled by Gustav S. Jánossy. Clippings, programs, [most are photocopies]; a few items on Stokowski, most are on the history of all performances at the Hollywood Bowl.

Philadelphia Award, 1922.
Box 35

Ivory and rosewood box, designed by Violet Oakley; executed by Douglas Gilchrist, plaque on bottom with date, 1922. Designed to hold the medal, (designed by Oakley) and scroll (painted by Violet Oakley) [scroll is stored separately in Drawer 61]. Letter from Edwin Heilakka to the Philadelphia Award Trustees, 7 March 1988, indicates that "The medal is in the possession of a daughter, and is, I understand, to be presented to the [Stokowski] Collection in due course."

Prix mondial du disque de Montreux, undated.
Box 36

Pewter drinking vessel.

Philadelphia Orchestra, 1966.
Box 36

Silver plaque mounted on mineral specimen reads "Leopold Stowkowski [sic] in honor of one of the great moments of the Philadelphia Orchestra with deepest gratitude. The members of the Philadelphia Orchestra, Convention Hall, October 14, 1966."

Medals and awards.
Box 37

* New York, N.Y. George Friderick Handel Award. Presented by Mayor Robert F. Wagner, April 15, 1963. Charlotte Tremper Armus, sculptor, 1959. Bronze medal in black leather case.
* Antonin Dvorak medal, undated. Mil.Beutler, sculptor. Bronze medal in rose leather case.
* American Council for Nationalities Service. Golden Door Award, 1966. Gold-plated medal in black leather case.
* Anton Weber medal, 1967. Siv Holme, sculptor. Bronze medal in blue cardboard box.
* Claude Debussy medal, 1978. R. Joly, sculptor. Bronze medal in blue cardboard box.
* Heitor Villa-Lobos medal, undated. No box. This medal was given to Stokowski in 1975 by Arminda Villa-Lobos (see correspondence in Oliver Daniel collection 3 March 1975).

National Academy of Recording Arts and Sciences, 1967.
Box 38

Nomination for the Album of the Year-Classical. The World of Charles Ives. To Leopold Stokowski and to Leonard Bernstein. Plaque.

Philadelphia Music Foundation Award, undated.
Box 38

Base, black marble, with treble clef. [Stored in two pieces].

City of Santa Barbara, circa 1977.
Drawer 32

See also: Bloch, Julius. Stokowski, lithograph, Oversize drawer 61.

Fisher, Albert. Watercolor portrait of Leopold Stokowski conducting, 25 x 25 cm., undated.
Box 39 Folder 687
Kairer, Margaret G. Pencil sketch of Leopold Stokowski conducting with his daughter Sonya at his side, 18.5 x13.5 cm., 1925.
Box 39 Folder 688
Moskowitz, H. S. Portrait of Leopold Stokowski, dry point etching, 25 x 20.5 cm., undated.
Box 39 Folder 689
Werner, Edna. Portrait of Leopold Stokowski, pencil, 30 x 22.5 cm., 1969.
Box 39 Folder 690
Wolf, Ben. Portrait of Leopold Stokowski, line drawing, undated.
Box 39 Folder 691
Container Summary

2 copies

Miscellaneous images, caricatures of Stokowski.
Box 39 Folder 692

Includes a photocopy of Alfred Bendiner's caricature of Stokowski; and materials donated by Sol Schoenbach, including a caricature of Schoenbach and an Alfred Bendinder drawing of Hilberg, Kincaid, Caston.

Beauchamp, Reginald. Large caricature of Leopold Stokowski, marker and spray paint on fabric.
Box 39 Folder unknown container
Organ roll, 1925.
Box 40

Recorded for the Duo-Art Aeolian Pipe Organ. Stokowski playing Bach's Passacaglia arr. Stokowski. Gift to Edward W. Box and Mary Louise Curtis Bok from Stokowski.


See also Drawer 61.

Stokowski and the Philadelphia Orchestra at John Wanamaker with Pietro Yon and Charles M. Courboin. Photo by Matthew Griendlerie [?] , 1920.
Box 41 Folder 693
Container Summary

6 copies

Leopold Stokowski, autographed portrait. Photo by E. Goldensky, Philadelphia, Pa., 1920s.
Box 41 Folder 694
Leopold Stokowski at the Bok family residence, inscribed for "Miss Thompson;" Stokowski on the Maine coast, 1920s.
Box 41 Folder 695
Sonya Stokowski, circa 1924.
Box 41 Folder 696
Stokowski with the Curtis Student Orchestra, 1926-1927.
Box 41 Folder 697
Stokowski with the All-American Youth Orchestra. Photos by Fred Hess & Son, 1940-1941.
Box 41 Folder 698
Container Summary

6 copies

Stokowski autographed portrait, inscribed to Boris Koutzen, undated.
Box 41 Folder 699
Audience at Pacific Coast Music Festival, 1955.
Box 41 Folder 700

Photo courtesy of Leighton Rollins, see correspondence in Ms. Coll. 382.

Stokowski conducting at the Edinburgh Music Festival. London Observer, 1961.
Box 41 Folder 701
Stokowski at recording sessions in London, Photos by Michael Ward.
Box 41 Folder 702
Stokowski at his desk, 1067 5th Ave., New York, N.Y. Photos by Paul J. Hoeffler, 1971.
Box 41 Folder 703
Walt Disney Productions. Black and white photographs from Fantasia, 1940.
Box 41 Folder 704
Photographs of publicity materials, in Spanish, from the 1940 tour of the All-American Youth Orchestra.
Box 41 Folder 705

Also includes items re Stokowski's 95th birthday and his obituary.

Curtis Institute of Music Stokowski Collection, circa 1980.
Box 41 Folder 706

Includes 1 photo of Edwin E. Heilakka, in color.

Photographs of Stokowski's scores, awards, a drawing by Stokowski, etc. , undated.
Box 41 Folder 707
Description & Arrangement

Newspaper clippings arranged chronologically. Includes photocopies of clippings and original materials.

Clippings, 1906-1916.
Box 42 Folder 708-709
Clippings, 1916-1926.
Box 42 Folder 710-711

Re Stokowski, the Philadelphia Orchestra and the Wanamaker Organ, compiled by Ray Biswanger.

Clippings, 1924-1976.
Box 42 Folder 712-719
Stokowski obituaries.
Box 42 Folder 720-722
Clippings, 1978-1996.
Box 42 Folder 723-732
Academy of Musical Recorded Arts and Sciences honorary membership certificate, 1954.
Box 43 Folder 733
Philadelphia Oarchestra Pension Foundation honorary life membership certificate, 1959-1960.
Box 43 Folder 734
International Association of Concert Managers certificate.
Box 43 Folder 735
National Federation of Music Clubs citation, 1967 April 15.
Box 43 Folder 736
Veterans Administration Voluntary Service certificate, 1969 May 12.
Box 43 Folder 737
National Music Council citation, 1972 April 18.
Box 43 Folder 738
American Composers Alliance Laurel Leaf Award, 1972 April 18.
Box 43 Folder 739
Silhouettes in Courage certificate, 1972.
Box 43 Folder 740
National Academy of Recording Arts and Sciences. Hall of Fame Award, for Bach-Stokowski Toccata and Fugue in D Minor (1927), 1978.
Box 43 Folder 741
National Academy of Recording Arts and Sciences. Hall of Fame Award, for Rachmaninoff, Rhapsody on a Theme of Paganini, RCA Victor 1935 recording, 1979.
Box 43 Folder 742
Help Hospitalized Veterans certificate, undated.
Box 43 Folder 743
Philadelphia, Pa., Office of the Mayor, Richardson Dilworth. Honorary Citizen Certificate, undated.
Box 43 Folder 744
Sixtieth Anniversary Concert Program, cover photograph by Claude Picasso, undated.
Box 43 Folder 745
Philadelphia Orchestra Tour. Menu, 1936 May 19.
Box 43 Folder 746
Leopold Stokowski RCA Victor Records Jacket autographed by Marian Anderson.
Box 43 Folder 747
Birthday Card to Leopold Stokowski from C. F. Peters Company, 1972 April 18.
Box 43 Folder 748
U.S. postage stamps. Classical conductors and composers including Leopold Stokowski, sealed, undated.
Box 43 Folder 749
Deck plan for the cruise ship Italia, with Stokowski's staterooms marked in pencil, 1930s.
Box 43 Folder 750
Ball, Ronald H. Architect's drawings for shelving units at Nether Wallop for Leopold Stokowski.
Box 43 Folder 751
Leopold Stokowski's batons.
Box 43 Folder unknown container
Walt Disney Productions. Souvenir program book for Fantasia, 1940.
Box 44 Folder 752
Container Summary

2 copies

Fantasia, 1990.
Box 44 Folder 753

* Posters, 2 copies.
* 50th anniversary glass plate and pin.
* 50th anniversary reissue, videorecording, sealed

Schweizer, J. Otto. Bronze relief portrait of Leopold Stokowski, 1923.
Box 45
Jones, Charlotte Mercer. Plaster relief portrait of Leopold Stokowski, undated.
Box 46
Box 47
G. Posters.
Drawer 61

* American Symphony Orchestra, 1966-1967 season
* Stokowski conducts the New Philharmonia, Royal Albert Hall, London, 14 May 1974
* WFLN poster with drawing of Stokowski, undated [after 1977]
* Curtis Institute of Music, Stokowski Centennial, conducted by Zubin Mehta, 18 April 1982
* Fantasia posters located on poster shelving, Dietrich Storage Area. 2 items

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