Showing Collections: 21 - 30 of 54
John Charles Thomas was an internationally known baritone who attended Peabody Institute from 1909 to 1912. His papers include scores, personal and business papers, concert programs, clippings, correspondence, ephemera, photographs, and recordings.
John Pendleton Kennedy was an influential writer, politician, and businessman in the Baltimore area who was instrumental in the establishment of the Peabody Institute. His papers include correspondence with many notable American cultural and political figures of the 19th century, as well as manuscripts, scrapbooks, and miscellaneous business documents.
Joseph Schillinger was a theorist and composer famous for developing the Schillinger System, a method of deconstructing music using geometric phase relationships. The collection contains correspondence, recordings, scrapbooks, photographs, artwork, manuscript scores, and other documents related to his professional and personal life.
The Marion Rosette papers contain scores, working documents, personal papers, and recordings from Rosette’s career as a composer and arranger of children's music.
This collection contains Mary C. Walker’s papers acquired throughout her time working at Peabody and years thereafter. The collection consists of personal correspondence, working documents, programs, newspaper clippings of music events, photographs, and personal items.
Mihály Virizlay (1931-2008) was a Hungarian-born cellist who had an international career as a concerto and recital soloist, was principal cello of the Baltimore Symphony Orchestra for 40 years, and taught at the Peabody Institute. The Mihály Virizlay papers contain published and manuscript musical scores, chiefly for cello, including Virizlay’s own compositions and arrangements. The collection also includes recordings, concert programs, newspaper clippings, and correspondence.
Morris Moshe Cotel (1943-2008) was a composer and pianist who was a member of the Peabody Conservatory faculty from 1972 to 2000. The Morris Moshe Cotel papers consist of letters from Cotel to his first wife, Karen Schwartzman, while Cotel was living in Rome and Israel in 1967 and 1968, as well as manuscript facsimile scores of two of his early compositions.