13-page stapled booklet, photo of mountains on cover, including paper application insert. Color looks sepia but this is probably a result of fading of black and white original. Glued paper addition or correction made on page 6.
BLACK MOUNTAIN COLLEGE BULLETIN
MUSIC INSTITUTE SUMMER 1945
*Sepia tone image of mountains, landscape and sky, by Elliot Lyman Fisher
BLACK MOUNTAIN COLLEGE
Black Mountain, North Carolina
SECOND MUSIC INSTITUTE SUMMER 1945
July 2-September 8
Black Mountain College Bulletin Newsletter April, 1945
Volume III Number 5
Issued seven times a year, in August, September, November, December, January, February and April. Entered as secondclass matter November 4, 1942, at the Post Office at Black Mountain, North Carolina, under the Act of August 24, 1912.
Black Mountain College dedicates its second Music Institute to the memory of Thomas Whitney Surette a great teacher of music
The Second Music Institute of Black Mountain College, Summer 1945, sponsored by the Music Department of the College, will be devoted to a study of polyphony and ensemble.
The music of the Nineteenth Century was increasingly dominated by the virtuoso and the mass orchestra. Seen as an expression of its time, the worship of the virtuoso on the concert stage was a part of the hero worship of this age. The development of the mass orchestra coincided with the process of industrialization and mass production. Both developments, that of the virtuoso and that of the mass orchestra, produced lasting masterworks. The amazing return of contemporary music practice to polyphony and to the smaller ensembles of chamber music may be understood as a reflection of the awareness of the fundamental task that confronts our generation; the reconciliation between individual and society. Through bitter experiences the world has awakened to the realization that what we need is not heroes on the one hand and anonymous masses on the other, but the kind of society that permits the greatest possible development of each individual. Nothing can teach us more about the relation of the one to the many and the many to the one- even if in a symbolic fashion only- than can vocal polyphony and instrumental ensemble. Here we have the ideal community of free individuals, in which the whole makes possible the development of each part, while each part adapts itself to the higher order of the whole.
In drawing up the program and selecting the artists the Music Department of Black Mountain College has striven for closest possible co-ordination of theory and practice, study and performance. The courses will concern themselves with the works performed. The works to be performed have been selected so as to be representative of great polyphony and chamber music through the ages. Works like Bach’s Musical Offering and his Art of the Fugue, and Haydn’s Seven Words of the Saviour will be analyzed and discussed; they will be studied by the Collegium Musicum in open rehearsals, and finally performed in public.
The happy combination of artists experienced in the performance of old music and of scholars devoted to the interpretation and the revival of it promises an usually interesting and fruitful music summer at Black Mountain College. The practical activities will be centered around the vocal and instrumental ensembles, the acapella chorus, the Collegium Musicum, the chamber orchestra, and the string quartet.
The program will not be limited, however, to old or to polyphonic music only. The decline and revival of polyphony since the days of the Viennese classical school will be illustrated in courses and performances. The presence of outstanding singers and instrumentalists assures a generous consideration of solo music for voice and instruments.
The Institute hopes to make a contribution toward breaking down the artificial barriers between the musical scholar and the practicing musician, the theorist and the composer, the professional and the amateur, the music of the past and that of the present. The union of all these forces will be needed to create the music and the musical life of tomorrow.
Teachers and students will play together in the chamber orchestra and in the Collegium Musicum; they will discuss the complex problems of old and new styles of ensemble music. There will be also occasion for private tutorials.
One of the basic ideas of Black Mountain College is the idea of community, which, in academic life, means intimacy between teacher and student, professional and amateur, the establishment of a genuinely personal relationship between workers in a common enterprise. The Music Institute will operate according to pattern. It will be an opportunity for each to meet whom he chooses. Affairs will be settled less by rule than by mutual agreement. Since a number of regular Black Mountain College students will also be Institute students, and since a considerable portion of the normal College schedule will be in force, visitors will have the opportunity to see for themselves the workings of this educational experiment. Black Mountain College was dedicated to the discovery of new methods in education; students of the Institute can both observe the experiment and help to further it.
GUEST FACULTY
ERWIN BODKY Piano, harpsichord, clavichord. Member of the faculty of Longy School of Music, Cambridge. Harpsichordist of Cambridge Collegium Musicum. Pupil of Richard Strauss and Ferruccio Busoni. Professor, State Academy for Liturgic and School Music, Berlin, 1926-1933. Concert tours as pianist and harpsichordist throughout Europe. Lectures and recitals at Juilliard School, Smith College, Harvard University. Soloist with Boston Symphony and Pops Orchestra. Author of: Interpretation of Old Keyboard Music, The Character Piece.
CAROL BRICE Contralto. Early training at Palmer Memorial Institute in Sedalia, N.C. Concert tour with Sedalia Singers. Bachelor of Music of Talladega College. Fellowship at the Julliard Graduate School of Music. Pupil of Francis Rogers. Concert tours in all parts of the country. Appearance as soloist with Kansas City Symphony Orchestra. Town Hall recital in March, 1945, under the management of the Naumburg Foundation as the winner of its award in a recent contest of outstanding contralto soloists in New York City.
FRANCES SNOW DRINKER Flute. Pupil of George Laurent. Member of Faculty of University of Louisville, 1943-1944. Played under Fabien Sevitzki, appeared with Cambridge Collegium Musicum and Stradivarius Quartet.
DR. ALFRED EINSTEIN Music historian. Professor of Music, Smith College. Author of: Heinrich Schuetz, Gluck. A Short History of Music, Greatness in Music, Mozart: His Character and Work, The Italian Madrigal, The Literature for Viola da Gamba in the Sixteenth and Seventeenth Centuries, and many other books and essays. Editor of works by Vivaldi, Corelli, Steffani, Pergolesi, Gluck, Haydn, Mozart and others. Editor of Riemann’s Music Dictionary, of Koechel’s chronological-thematic catalogue of Mozart’s works.
ROLAND HAYES Tenor. Pupil of W. Arthur Calhoun, of Chattanooga, Tenn., Jennie A. Robinson, at Fisk University, and Arthur J. Hubbard, of Boston. Studied in Europe under Ira Aldridge, Victor Beigel, Sire George Henschel, and Dr. Theodore Lierhammer. Concert tours in the United States and Europe. Command performances before George V of England and before Queen Mother Maria Christina of Spain. Soloist with Orchestra Collone in Paris and with Orchestra Mengelberg in Amsterdam. Concerts also in Vienna, in Berlin, and in all the other important cities of Europe. Appearances with the Boston, the Philadelphia, the Detroit, and the New York Symphony Orchestras. Was awarded the Spingarn Medal for “the most outstanding achievement among colored people” in 1925.
EVA HEINITZ Viola da gamba and violoncello. Assistant first cellist of the Pittsburgh Symphony. Soloist with the New Friends of Music. Solo and chamber music at the Williamsburg Festival (Virginia). Concert tours as viola da gamba player and cellist throughout Europe.
HUGO KAUDER Resident composer. Born in Czechoslovakia. Composed two symphonies, concertos for various solo instruments with string orchestra, nine string quartets, many other chamber music works for string and wind instruments, a great number of songs and choruses; preludes and fugues and three sonatas for the piano. A number of works published by the Universal Edition, Vienna. Participated in First International Festival of Chamber Music at Salzburg, 1922. Performance of first symphony at the Music Festival of City of Vienna. Was awarded the Prize of City of Vienna, 1928. Author of: Outline of a New Theory of Melody and Harmony.
JOSEF MARX Oboe and English horn player at the Metropolitan Opera Company. Previously first oboist of Pittsburgh Symphony. Solo oboist at the series of Bach concerts at New School of Social Research conducted by Otto Klemperer. Oboist with Adolf Busch’s Group of Chamberplayers. First oboist under Toscanini in Palestine Orchestra. Studied with Leon Goossens, London. Solo appearances with League of Composers, MacDowell Club.
WILLIAM VALKENIER Horn. First horn player of Boston Symphony under Koussevitzki. Member of Faculty of New England Conservatory, Longy School of Music, and Berkshire Music Center. Soloist with Casal’s Orchestra in Barcelona. Chamber music with Klinger and Busch Quartets.
EMANUEL ZETLIN Violin. Associate concertmaster of Metropolitan Opera Company. Member of Faculty of Manhattan Music School since 1929. Previously head of Violin Department of Washington College for Music which conferred upon him the honorary degree of Doctor of Music of Faculty of Curtis and Julliard Institutes. Concert tours with orchestra, as recitalist, and as chamber music player throughout Europe and the United States. Taught at University of Minnesota in Minneapolis in 1941 upon special invitation of Mitropoulos with whom he appeared in concerts. Pupil of Leopold Auer and Carl Flesch, who appointed him his assistant.
GORDON STRING QUARTET Jacques Gordon, First Violin, Walter Hagen, Second Violin, Kras Malno, Viola, Gabor Rejto, ‘Cello
Founded twenty years ago in New York by Jacques Gordon, then Concertmaster of the Chicago Symphony Orchestra. In addition to long winter tours, it has given during the last ten years the famous concerts at Music Mountain Falls Village in Connecticut. Besides playing the classic repertoire it has given first performances of many works by contemporary composers.
*glued insert, The Gordon String Quartet are guest members of the Black Mountain College 1945 Music Institute Faculty through the courtesy of Music Mountain of Falls Village, Connecticut.
BLACK MOUNTAIN COLLEGE MUSIC FACULTY
DR. HEINRICH JALOWETZ Pupil of A. Schoenberg, conductor of operas Prague, Cologne; concert conductor Vienna, Prague, Cologne, Berlin, London. Teacher summer school Conservatory Toronto. Author of P.E. Bach and Beethoven.
Black Mountain College since 1939.
DR. EDWARD E. LOWINSKY Music historian, pianist, teacher in Holland, at Conversatory Stuttgart, and Y.M.H.A. Music School, New York. Author of: Book of Children’s Music, Orlando di Lasso, Chromatic Secret Art in the Netherlands Motet.
Black Mountain College since 1942.
GRETEL J. LOWINSKY Violinist and violist. Studied with H. van der Veght, Henri Temianka, and Marcel Dick. Member of the North Carolina Symphony Orchestra.
Black Mountain College since 1942.
GERTRUDE E STRAUS Violinist. State Academy of Music Munich, Teachers’ Seminar State Academy Munich. Member of Studeny String Quartet, North Carolina Symphony Orchestra.
Black Mountain College since 1938.
LIST OF COURSES
The following four courses on POLYPHONY THROUGH THE AGES
EDWARD E. LOWINSKY 1. Rise and Development of Polyphony from the Organum of the Ninth Century to Josquin’s Death (1521). (twice weekly for two weeks)
ALFRED EINSTEIN 2. Fate of Polyphony from 1500 to Mozart’s Death. (twice weekly for three weeks)
ERWIN BODKY 3. Polyphony and Beethoven. (twice weekly for two weeks)
HEINRICH JALOWETZ 4. Polyphony in the Romantic School and in Contemporary Music. (twice weekly for three weeks)
Participants in this course are urged to join the acapella chorus.
ERWIN BODKY Three Hundred Years of Keyboard Music (1500-1800). Discussion of Italian, French, English, German keyboard style, including the entire keyboard work of J.S. Bach. Complete performance of both volumes of the Well Tempered Clavier. (twice weekly)
ERWIN BODKY Collegium Musicum. Informal study of selected works of chamber music from trio sonatas to concerti grossi, including Bach’s Musical Offering and his Art of the Fugue and Haydn’s Seven Words of the Saviour. Combinations of vocal and instrumental ensembles. (twice weekly)
ERWIN BODKY HEINRICH JALOWETZ Chamber Orchestra.
CAROL BRICE Four Lecture Demonstrations. The Italian Song, the French Song, Songs by Schubert and Schumann, the English and American Song. (once weekly)
ROLAND HAYES Will be available for informal discussions with singers and other musicians interested in problems of voice technique and artistic interpretation.
EVA HEINITZ The Literature of the Viola da Gamba and the Cello. Discussion of the differences between the viola da gamba and the cello and their literatures. Performance of music for viola da gamba by Couperin, Forqueray, Marin Marais, Tartini, J.S. Bach, and others; of cello music by Giovanni Gabrieli, Vivaldi, J.S. Bach, Beethoven, Brahms, Hindemith, and others. (once weekly)
HEINRICH JALOWETZ The String Quartet. Comments on the String Quartets Performed by the Gordon Quartet. (twice weekly for the last three weeks)
EDWARD E. LOWINSKY Creative Music Education- a seminar. (once weekly)
EDWARD E. LOWINSKY A Capella Chorus. Works by Perotin, Machaut, Landini, Dufay, Josquin, Lasso, Schuetz, and Hugo Kauder. (twice weekly)
JOSEF MARX The Use of Wind Instruments in the Eighteenth Century with Special Reference to the Oboe. Among other things the use of the oboe in Bach’s works will be discussed. Performance of solo sonatas for oboe by Telemann and Handel, and oboe concertos by Marcello, Handel, Vivaldi, and a double concerto by Bach. Performance and discussion of flute sonatas by J.S. Bach, C.P.E. Bach and Quantz and of a flute concerto by W.A. Mozart. (This course will be given in co-operation with Frances Snow Drinker.)
JOSEF MARX Wind Ensemble. (once weekly)
EMANUEL ZETLIN Problems of Style and Performance in Ensemble Playing. (twice weekly)
EMANUEL ZETLIN Bach’s Works for the Violin. Performance and discussion of Bach’s solo works for the violin, sonatas for violin and harpsichord, concertos and double concertos.
LECTURES, CONCERTS, INFORMAL PERFORMANCES
E. Bodky, C. Brice, F. Snow Drinker, E. Einstein, R. Hayes, G. Heinitz, G. Lowinsky, J. Marx, T. Straus, W. Valkenier, E. Zetlin, Gordon String Quartet, Collegium Musicum, Chamber Orchestra, Duo, Trio, Quartet, Diverse String and Wind Ensembles, A Capalla Chorus
During the time of Hugo Kauder’s residence at the College a number of his works will be performed as an illustration of the attempt of a living composer at a new polyphonic style.
Lectures of general interest will be given by members of the faculty and the guest faculty.
GENERAL INFORMATION
Black Mountain College is situated in the heart of the Great Craggy Mountains of Western North Carolina, a section noted for its climate and scenery. Because of the altitude-2,400 feet- the summers are usually cool, particularly at night. The College campus with its farm and a little lake is just off U.S. Highway 70, three miles from the town of Black Mountain. The railroad station Black Mountain is on the scenic Southern Railroad Line from New York to Black Mountain. The City of Asheville is fifteen miles from the College.
The lake is bordered on the south by the dining hall, with a dining porch; on the north, by the new studies building erected with student and faculty labor. The living quarters of the College students include two dormitory buildings with bedrooms for two, three and more persons.
Members of the Black Mountain College community take care of their own rooms.
At Black Mountain College teachers and students live on the campus. They have their meals together in the dining hall. Thus there is constant personal contact among students and teachers.
The College farm supplies milk, meat, and vegetables to the College kitchen.
The College community life in summer offers opportunities for dancing, picnics, light farm work, hiking, and swimming.
Clothing appropriate for walking in the mountains and for working outdoors should be provided, as well as ordinary city clothes suitable for this climate. Evening dresses are worn at dances and concerts.
Students are requested to bring with them their instruments and the solo music they wish to practice. It would be helpful if students who have chamber music scores would bring them also. The College will provide pianos and ensemble music.
Individual instruction outside the announced list of courses can be obtained by special arrangement. For particulars write to the Registrar, Black Mountain College, Black Mountain, North Carolina.
Black Mountain College will notify all applicants, if circumstances should necessitate any important changes in the announced curriculum and faculty list of the Music Institute.
Classes and lectures of the regular College summer session are open for registration to the members of the Music Institute in so far as they do not conflict in time with the curriculum of the Music Institute.
ADMISSION
A College committee admits applicants to the Music Institute. The committee’s decision is based upon the previous training of applicants, their ability, and the part they can be expected to play in the Music Institute as well as in the College community. There are no fixed regulations concerning the age and academic background of applicants.
The attached application blank filled out as fully as possible should be accompanied by an application fee of $5.00, which is non-refundable. This application fee will be credited to the inclusive fee upon admission. The College will write directly to the references given on the application blank.
On application for a scholarship a special form will be sent to the applicant.
All applications for admission should be mailed at the earliest possible date because the number of students will be limited.
Address all correspondence to the Registrar, Black Mountain College, Black Mountain, North Carolina.
SCHEDULE
The timetable on Page 12 shows that the various fields and the teachers are distributed as equally as possible over the whole session of ten weeks. The schedule will be arranged as much as possible in such a way that the courses will take place in the mornings. The afternoon will be reserved for rest, private work, outdoor activities, ensemble playing, open rehearsals, also for individual advice and instruction. Concerts and lectures will be given in the evenings.
FEE
The fee for attendance at the Music Institute, summer 1945, during the full period of ten weeks is four hundred dollars. This amount includes all charges for tuition, practicing, lectures, recitals and performances, use of College libraries, record collection and equipment, visiting of classes and lectures of the regular College summer session, and room and board.
Although participants for the full period will receive first consideration, participants for shorter periods will be accommodated if space remains available. The charge for shorter periods will be: fifty dollars per week for a period of three to six weeks; forty-five dollars per week for a period of more than six weeks. Normally no one will admitted for less than three weeks. The fee is payable as follows: twenty-five percent upon notice of admission, to insure reservation of accommodation; the balance on arrival.
A limited number of scholarships is available to talented students, musicians and teachers to help them defray part of tuition costs for the Music Institute. Scholarships will be available only to those who can show that they are in need of financial support.
For further information write to the Registrar, Black Mountain College, Black Mountain, North Carolina.
ART INSTITUTE
A Black Mountain College Art Institute, Summer 1945, will be held simultaneously with the Music Institute. Anni Albers, Josef Albers, Gropius, Feininger; Zadkine (sculpting); Fannie Hillsmith and Robert Motherwell (painting); Paul Rand and Alvin Lustig (advertising art); F.W. Goro (photography); Berta Rudofsky (leather work); and Dr. Alexander Dorner and Karl With (art history) will be among the teachers and lecturers of the Art Institute. For further information on the Black Mountain College Summer Session and the Art Institute, write to the Registrar, Black Mountain College, Black Mountain, North Carolina.
*insert of application to the Music Institute. Transcription of application can be found with object record 2017.40.027
*graphic of timetable which shows all classes, lectures and demonstrations, who will be teaching them, and when they will be held.
BLACK MOUNTAIN COLLEGE
Those who participated in music at Black Mountain College this summer will never forget the experience and will certainly do all in their power to keep it alive both there and elsewhere. For me it seems one of the most vital signs of what must and can be achieved for music in the United States, if we have the vision and courage and imagination which is demanded of us.
Roger Sessions (New York Times, September, 1944.)
This is a unique educational experiment, where the students and faculty are not only building their own buildings but really are attempting to demonstrate democratic procedure in an educational institution.
Eleanor Roosevelt (My Day, April 10, 1941.)
Black Mountain is a living example of democracy in action.
John Dewey.
I want to congratulate you upon the work you are doing. You are here as a little community to work with your hands and your brains, which Is a good thing for you. What is done out of pleasure is much better done than what is done out of duty. If you had to climb mountains out of duty, you could not mount these high mountains. I think that is also true with the high mountains of the spirit.
Albert Einstein
Progressive education’s most famous outpost.
Time Magazine, Dec. 27, 1943.
There should be at least one college such as this in every state, operated independently of the big universities, to provide custom-tailored education for those who want it and do the experimenting of which the big schools are almost incapable.
P.M.
Nowhere on American college campuses is there to be found a more democratic spirit.
The Archive, Duke University, Durham, N.C.
I had thought to stay an hour or so, then go on. To shorten a long tale, instead of staying overnight, I remained for two and a half months. On the third day I found myself making notes about the place. After two weeks later I knew I had stumbled on what might eventually prove one of the most fascinating and probably important stories developing in America today.
Louis Adamic (Harper’s Magazine.)
*Sepia tone image of mountains, landscape and sky, by Elliot Lyman Fisher
