Mary Virginia Foreman Le Garrec Collection of Artur Schnabel Materials
Catalog Record: http://lccn.loc.gov/2011570508
General International Standard for Archival Description
Music Division Library of Congress Washington, D.C.
Finding aid encoded by Library of Congress Music Division, 2011
Encoded Archival Description
Encoded Archival Description (EAD) Version 2002
collection
Mary Virginia Foreman Le Garrec Collection of Artur Schnabel Materials 1893-1996 (bulk circa 1920-circa 1950)
Schnabel, Artur, 1882-1951
Le Garrec, Mary Virginia Foreman
Biographical History for: Mary Virginia Foreman Le Garrec Collection of Artur Schnabel Materials 1893-1996 (bulk circa 1920-circa 1950)
Biographical Note Artur Schnabel was one of the greatest pianists and pedagogues in the history of musical performance. As a performer, Schnabel eschewed virtuosity in favor of musicianship – indeed, he considered himself a musician foremost, and the piano simply his creative medium – and his sound recordings consistently demonstrate interpretations of sensitivity, commitment, and distinction. He was one of the first pianists to champion new and unfamiliar repertoire (such as the piano sonatas of Franz Schubert), and the first pianist to record the complete sonatas and concerti of Ludwig van Beethoven. As a pedagogue, Schnabel is probably best known for his meticulously annotated performing edition of Beethoven’s piano sonatas, through which countless pianists were introduced to these foundations of the piano repertoire; this edition is in common use even today. Lesser known are Schnabel’s original musical compositions – his uncompromising atonal musical language continues to pose formidable challenges to performers, conductors and listeners – and his contribution to musical scholarship through his autobiography (My Life and Music, 1961), his two books on the role of music in the twentieth century (Reflections on Music, 1934 and Music and the Line of Most Resistance, 1942), and through the several articles he contributed to musical journals throughout his life. Schnabel’s student and confidante, Mary Virginia Foreman Le Garrec (born 1908), donated her collection of correspondence, musical scores, writings, concert programs, press clippings, publications, photographs, and other memorabilia related to Schnabel, to the Library in 1997. Date Event 1882, April 17 Artur Schnabel born, Lipnik, Carpathia, Austria 1888 Began piano studies with Hans Schmitt 1889 or 1890 Gave first public concert in Vienna 1891 Began piano studies with Leschetitzky in Vienna 1896 Won prizes for three of his works for solo piano in composition competition organized by Leschetitzky 1897 Graduated from Leschetitzky’s class; received first prize 1898 Moved to Berlin to begin his professional career Met contralto Therese Behr (b. 1876), a “lieder singer of repute” 1905 Married Therese Behr (died 1959), they gave intermittent concerts together for the next twenty-five years, performing together primarily throughout Germany and Scandinavia 1908, April 5 Mary Virginia Foreman born, Minneapolis, Minnesota 1921 Schnabel made first recital tour of United States 1922 Schnabel made second recital tour of United States 1925-1933 Schnabel became professor, piano, Berlin Hochschule für Musik circa 1925-circa 1933 Schnabel performed in recital series with violinist Carl Flesch 1927 Schnabel performed Beethoven’s thirty-two piano sonatas in one season in Berlin, in celebration of the centenary of the composer’s birth 1932-1935 Schnabel recorded Beethoven's thirty-two piano sonatas and five piano concerti for the British firm HMV 1933, Nov. 2 Schnabel and Foreman met, Minneapolis (Schnabel was visiting studio of Foreman's piano teacher) Schnabel was guest soloist with the Minneapolis Symphony Orchestra (Eugene Ormandy conducted) 1933, Nov. 3 Schnabel performed Beethoven’s Concerto no. 3, op. 37, at the University of Minnesota’s Cyrus Northrup Memorial Hall Foreman attended concert with her mother (at Schnabel’s insistence, Foreman remained backstage with Schnabel for the concert’s second half, after having delivered sandwiches to him) 1933 Schnabel left Germany and settled in Lake Como, Italy, where he lived for the remainder of his life 1934 Sept. Foreman moved to New York City after accepting parents' offer to study piano for one year with Edwin Hughes (she resided at the Three Arts Club at 340 West 85th Street) 1934 Schnabel published Reflections on Music. New York: Simon and Schuster 1935 Jan. Schnabel performed at Carnegie Hall in New York Schnabel and Foreman were reacquainted after the concert; Schnabel recognized her from earlier meeting in Minneapolis 1935, Jan. 16 Foreman began a correspondence with Schnabel which would last until his death in 1951 1935 Schnabel published his edition of complete piano sonatas of Ludwig van Beethoven, in two volumes (over 800 pages). New York: Simon and Schuster 1936 Schnabel performed thirty-two sonatas of Beethoven on “7 Wednesday nights in Carnegie Hall” 1940-1945 Schnabel became professor, University of Michigan 1942 Schnabel published Music and the Line of Most Resistance. Princeton, N.J.: Princeton University Press (his thoughts on music and musical esthetics) 1944 Schnabel became a naturalized American citizen 1945 Schnabel returned to home in Lake Como, Italy 1946, Dec. 13 Première performance of Symphony no. 1, by Minneapolis Symphony Orchestra, conducted by Dimitri Mitropoulos (this difficult and atonal work would be the only one of Schnabel's four symphonies to be performed during his lifetime) Schnabel appeared as soloist in Beethoven’s Concerto no. 4 in the same concert 1948, Dec. 11 Schnabel suffered near-fatal heart attack that left him bedridden for nearly four months 1951, Jan. 20 Schnabel's last performance, at Hunter College, New York (of the occasion he wrote, “For the first time I succeeded today in playing the last line of Beethoven’s opus 90 [Sonata] so that I found it convincing”) 1951, Aug. 15 Schnabel died, Grand Hotel in Axenstein, Switzerland 1956 Aug. Foreman met Yves Le Garrec (born 1890, La Rochelle, France) in Paris 1965 Foreman married Yves Le Garrec (after a period of traveling throughout Europe, they settle in Biarritz, France) 1979 Mar. Yves Le Garrec died in Biarritz
Scope and Content Note The Mary Virginia Foreman Le Garrec Collection of Artur Schnabel Materials consists of material donated to the Library in 1997 by Le Garrec, who was Schnabel's student and confidante. The collection includes published music scores by Schnabel as well as by other composers, some of which contain annotations and performance indications in the hands of Schnabel, Le Garrec, and others. In addition, the collection contains Schnabel's correspondence with music figures such as Clifford Curzon, Rudolf Firkušný and Le Garrec; and Le Garrec’s correspondence with, among others, Pierre Fournier, René Liebowitz, Leopold Mannes, and Dmitri Mitropoulos. The collection also includes writings by both Schnabel and Le Garrec; concert programs featuring Schnabel as both pianist and composer; biographical material; press clippings, published articles, and monographs regarding Schnabel and his circle; books; photographs; and other iconography. Kevin LaVine, May 2006
series
Music Scores, 1893-1986, undated
subseries
Holograph Manuscript Scores of Works by Schnabel, 1944-1948, undated
file
One copy of the inventory/finding aid of the contents of this collection
Dance and secret, for chorus and orchestra, undated
Holograph manuscript full score, in pencil; 1, 42 numbered pages (22 leaves)
holograph manuscript full score, in pencil; 1, 42 numbered pages (22 leaves)
Dance and secret, for chorus and orchestra, August 28, 1944
Holograph manuscript condensed score, in pencil and ink; 14 leaves
holograph manuscript condensed score, in pencil and ink; 14 leaves
Joy and peace, for chorus and orchestra, undated
Holograph manuscript full score, in pencil; 1, 34 numbered pages (18 leaves)
holograph manuscript full score, in pencil; 1, 34 numbered pages (18 leaves)
Joy and peace, for chorus and orchestra, September 14, 1944
Holograph manuscript condensed score, in pencil; 9 leaves
holograph manuscript condensed score, in pencil; 9 leaves
Rhapsody, for orchestra, November 14, 1946
Holograph manuscript full score, in pencil with emendations in red, blue and green pencil; 53 numbered pages/leaves
holograph manuscript full score, in pencil with emendations in red, blue and green pencil; 53 numbered pages/leaves
Rhapsody, for orchestra, July 31, 1946
Holograph manuscript condensed score, in pencil; 2, 14 numbered pages (16 leaves)
holograph manuscript condensed score, in pencil; 2, 14 numbered pages (16 leaves)
Trio, for violin, violoncello, and piano, September 7, 1945
Holograph manuscript score, in pencil; 2, 20 pages (21 leaves)
holograph manuscript score, in pencil; 2, 20 pages (21 leaves)
Waltz, for piano solo, April 28, 1948
Holograph manuscript score, in pencil; 1 page
holograph manuscript score, in pencil; 1 page
Unidentified sketch, undated
Varies between one and four staves; in pencil and red pencil; 2 pages (one leaf)
varies between one and four staves; in pencil and red pencil; 2 pages (one leaf)
Published and Photoreproduced Scores of Works by Schnabel, 1904-1986, undated
[Sketch, unidentified.] Varies between one and four staves; in pencil and red pencil; undated; 2 pages (one leaf). Labeled at top of page, in ink, in the hand of MVFLG, “Work sheet of Artur Schnabel / Paul Zukofsky found interesting - M.V.F.”
Abendlandschaft, op. 14, no. 4, for voice and piano; German lyrics by Joseph von Eichendorff. Berlin: Verlag Dreililien, 1904
Dance and secret; Joy and peace, for chorus and orchestra, undated
Full score, reproduced from copyist’s manuscript, plastic spiral bound; 45 p.
full score, reproduced from copyist’s manuscript, plastic spiral bound; 45 p.
Dann, op. 11, no. 2 [from Zehn Lieder], for voice and piano; German lyrics by Richard Dehmel, undated
Photoreproduction of unidentified published score; 2 p.
photoreproduction of unidentified published score; 2 p.
Dieses ist ein rechter Morgen, op. 11, no. 5 [from Zehn Lieder], for voice and piano; German lyrics by Stefan George. Berlin: Verlag Dreililien, undated
Duodecimet, for chamber orchestra; arranged by René Liebowitz. New York: Boosey & Hawkes, Inc., 1963
Ein ferner Frauensang, op. 11, no. 3 [from Zehn Lieder], for voice and piano; German lyrics by Werner Wolffheim, undated
Heisst es viel dich bitten?, op. 14, no. 6, for voice and piano; German lyrics by Stefan George, undated
Klavierstück in fünf Teilen [“Sonata for piano”], for piano solo, undated
Photoreproduction of copyist’s manuscript score; 33 p./leaves
photoreproduction of copyist’s manuscript score; 33 p./leaves
Marienlied, op. 11, no. 4 [from Zehn Lieder], for voice and piano; German lyrics by Novalis. Berlin: Verlag Dreililien, undated
Notturno, for voice and piano; German lyrics (lyricist not identified). Ship Bottom, New Jersey: APNM (Association for the Promotion of New Music), 1986
Score, reproduced from copyist’s manuscript; plastic spiral bound; 2, 26 p.
score, reproduced from copyist’s manuscript; plastic spiral bound; 2, 26 p.
Piano pieces [Seven piano pieces], for piano solo. New York: Independent Music Publishers, undated
Score, reproduced from copyist’s manuscript; 17, 1 p.
score, reproduced from copyist’s manuscript; 17, 1 p.
Piece in seven movements, for piano solo. New York: Edward B. Marks Music Corporation, 1947
Quartet no. 1, for strings. Vienna: Universal-Edition, 1927
Quartet no. 3, for strings. New York: Boosey & Hawkes, Inc., 1951
Quartet no. 4, for strings. Ship Bottom, New Jersey: APNM (Association for the Promotion of New Music), 1986
Score, reproduced from copyist’s manuscript; plastic spiral bound; 1, 37 p.
score, reproduced from copyist’s manuscript; plastic spiral bound; 1, 37 p.
Quartet no. 5, for strings. Ship Bottom, New Jersey: APNM (Association for the Promotion of New Music), 1986
Score, reproduced from holograph manuscript; 2, 53, 1 p.
score, reproduced from holograph manuscript; 2, 53, 1 p.
Quartet no. 5, for strings, undated
Score, reproduced from holograph manuscript; wire spiral bound; 2, 53, 1 p.
score, reproduced from holograph manuscript; wire spiral bound; 2, 53, 1 p.
Rhapsody, for orchestra. Ship Bottom, New Jersey: APNM (Association for the Promotion of New Music), 1986
Full score, unbound photoreproduction of copyist’s manuscript, 39 leaves (74 numbered pages)
full score, unbound photoreproduction of copyist’s manuscript, 39 leaves (74 numbered pages)
Sieh mein Kind ich gehe, op. 11, no. 7 [from Zehn Lieder], for voice and piano; German lyrics by Stefan George, undated
Sonata for solo violin. Ship Bottom, New Jersey: APNM (Association for the Promotion of New Music), 1986
Score, reproduced from holograph manuscript; plastic spiral bound; 2, 48 p.
score, reproduced from holograph manuscript; plastic spiral bound; 2, 48 p.
Sonata for violin and piano. New York: Boosey & Hawkes, Inc., 1961
Sonata for piano and violin, undated
Score, photoreproduced from copyist’s manuscript; wire spiral bound; 1, 42, 1 p.
score, photoreproduced from copyist’s manuscript; wire spiral bound; 1, 42, 1 p.
Sonata for solo cello. Ship Bottom, New Jersey: APNM (Association for the Promotion of New Music), undated
Symphony no. 1, for orchestra. New York: Edition Adler, 1945
Symphony no. 2, for orchestra. Ship Bottom, New Jersey: APNM (Association for the Promotion of New Music), 1986
Full score, reproduced from copyist’s manuscript; plastic spiral bound; 2, 295 p.
full score, reproduced from copyist’s manuscript; plastic spiral bound; 2, 295 p.
Symphony no. 3, for orchestra. Ship Bottom, New Jersey: APNM (Association for the Promotion of New Music), 1986
Full score, reproduced from copyist’s manuscript; plastic spiral bound; 126, 1 p.
full score, reproduced from copyist’s manuscript; plastic spiral bound; 126, 1 p.
Tanzlied, op. 11, no. 10 [from Zehn Lieder], for voice and piano; German lyrics by Otto Julius Bierbaum. Leipzig: C.G. Röder, undated
Trio, for violin, violoncello, and piano. Ship Bottom, New Jersey: APNM (Association for the Promotion of New Music), 1986
Score, reproduced from copyist’s manuscript; plastic spiral bound; 2, 56 p.
score, reproduced from copyist’s manuscript; plastic spiral bound; 2, 56 p.
Trio, for violin, violoncello, and piano, undated
Photoreproduction, unbound, of copyist’s manuscript score; 56 p./leaves
photoreproduction, unbound, of copyist’s manuscript score; 56 p./leaves
Trio, for violin, viola, and violoncello. Ship Bottom, New Jersey: APNM (Association for the Promotion of New Music), undated
Das Veilchen an den spanisches Flieder, op. 11, no. 9 [from Zehn Lieder], for voice and piano; German lyrics by Hanns Sachs. Berlin: Verlag Dreililien, undated
Wunder, op. 11, no. 1 [from Zehn Lieder], for voice and piano; German lyrics by Werner Wolffheim, undated
Published and Photoreproduced Scores of Works by Other Composers, 1893-1932, undated
Bach, Johann Sebastian. Klavierwerke: Toccata, BWV 912; Fantasie, BWV 906; Chromatische Fantasie und Fuge, BWV 903, for piano solo. [Leipzig:] Steingräber Verlag, undated
Score (incomplete: pages 82-93 [includes pages 81 and 94 as well], 107-109, and 110-120 [incomplete], respectively)
score (incomplete: pages 82-93 [includes pages 81 and 94 as well], 107-109, and 110-120 [incomplete], respectively)
Bach, Johann Sebastian. Partitas, v. 1, for piano solo. Edited by Czerny, Griepenkel, and Roitzsch (Schirmer’s Library of Musical Classics, v. 20). New York: G. Schirmer, Inc., 1908
Bach, Johann Sebastian. Das Wohltemperierte Klavier, v. 1 [Klavierwerke, Band V; BWV 846-869], for piano solo. Edited by Hans Bischoff. Leipzig: Steingräber Verlag, undated
Beethoven, Ludwig van. Sonatas, op. 5 (nos. 1, 2), 69, 102 (nos. 1, 2). Sonatas for pianoforte and violoncello, for violoncello and piano. Edited by Leo Schulz. New York: G. Schirmer, Inc., 1905; reprint 1932
Beethoven, Ludwig van. Sonata, op. 10, no. 3 [Klaviersonate, nr. 7, D-dur], for piano solo. Edited by Artur Schnabel. Berlin: Verlag Ullstein, 1924
Beethoven, Ludwig van. Sonata, op. 28 [Klaviersonate, nr. 15, D-dur], for piano solo. Edited by Artur Schnabel. Berlin: Verlag Ullstein, 1926
Brahms, Johannes. Intermezzi [Drei Intermezzi], op. 117, for piano solo. Edited by Emil von Sauer. Leipzig: C.F. Peters, undated
Brahms, Johannes. Klavierstücke, op. 118, for piano solo. Edited by M. Mayer-Mahr. Berlin/Leipzig: N. Simrock, 1925 and New York: Associated Music Publishers, Inc., 1928
Brahms, Johannes. Klavierstücke [Vier Klavierstücke], op. 119, for piano solo. Edited by M. Mayer-Mahr. Leipzig: N. Simrock, 1925
Brahms, Johannes. Phantasien, op. 116, for piano solo. Edited by Emil von Sauer. Leipzig: C.F. Peters, undated
Brahms, Johannes. Rhapsodies [Two Rhapsodies], op. 79, for piano solo. Boston: B.F. Wood Music Co., undated
Mozart, Wolfgang Amadeus. Concerto, K. 466 [Concert, D moll], for piano and orchestra. Arranged and edited by Franz Kullak for two pianos. Leipzig: Steingräber Verlag, 1900
Mozart, Wolfgang Amadeus. Rondo, K. 511, for piano solo. [Leipzig:] C.F. Peters, undated
Score (incomplete: pages 35-46 only: extracted from larger edition)
score (incomplete: pages 35-46 only: extracted from larger edition)
Mozart, Wolfgang Amadeus. Sonatas, K. 279, 280, 281, 282, 283, 284, 309, 310, 311, 330 [Sonaten und Phantasien für Klavier, Erster Band], for piano solo. Preface by Ernst Rudorff. Leipzig: Breitkopf & Härtel, undated
Mozart, Wolfgang Amadeus. Sonatas, K. 331, 332, 333, 457, 545, 570, 576; Phantasies, K. 394 (no. 1 “mit Fuge”), 396 (no. 2), 397 (no. 3), 475 (no. 4) [Sonaten und Phantasien für Klavier, Zweiter Band], for piano solo. Preface by Ernst Rudorff. Leipzig: Breitkopf & Härtel, undated
Mozart, Wolfgang Amadeus. Sonatas, K. 381, 358, 497, 521; Fantasias, K. 594, 608; Variationen, K. 501; Fuge, K. 401. [Original-Kompositionen. Klavier zu 4 Händen], for piano four hands. Edited by Adolf Ruthardt. Leipzig: C.F. Peters, undated
Schubert, Franz. Fantaisie, op. 103; Grand Rondeau, op. 107; Deux Marches caractéristiques, op. 121; Rondeau, op. 138; Grand duo, op. 140; Allegro, op. 144; Fugue, op. 152 [Original-Kompositionen. Klavier zu 4 Händen. Band III], for piano four hands. Leipzig: C.F. Peters, undated
Schubert, Franz. Fantaisie, op. 159, for violin and piano. Braunschweig: Henry Litolff, undated
Schubert, Franz. Impromptus, op. 90 [D. 899], 142 [D. 935]; Moments musicaux, op. 94 [D. 780], for piano solo. Boston: B.F. Wood Music Corp., undated
Schubert, Franz. Sonatas, op. 78 [D. 894], 164 [D. 537], and three posthumous opuses [D. 958, 959, 960] [Sonatas for Piano, Part II], for piano solo. New York: Edwin F. Kalmus, undated
Score; 3, 131 p. (numbered pages 140-271)
score; 3, 131 p. (numbered pages 140-271)
Schumann, Robert. Arabeske, op. 18, for piano solo. Edited by Max Vogrich. New York: G. Schirmer, Inc., 1893; reprint 1924
Schumann, Robert. Davidsbündler, op. 6, for piano solo. Leipzig: Breitkopf & Härtel, undated (“First edition”)
Schumann, Robert. Kinderscenen, op. 15, for piano solo. Boston: B.F. Wood Music Co., undated
Schumann, Robert. Phantasie, op. 17, for piano solo. Leipzig: Breitkopf & Härtel, undated
Schumann, Robert. Variations on the name “Abegg,” op. 1; Papillons, op. 2, for piano solo. Edited by Max Vogrich (Schirmer’s Library of Musical Classics, v. 23). New York: G. Schirmer, Inc., 1914
Facsimile Editions, 1921-1923, undated
Beethoven, Ludwig van. Sonata, op. 57, “Appassionata,” for piano solo. Paris: Editions d’Art H. Piazza, undated
Facsimile edition of holograph manuscript; 45 p. (numbered copy 475 of 500 printed editions)
facsimile edition of holograph manuscript; 45 p. (numbered copy 475 of 500 printed editions)
Beethoven, Ludwig van. Sonata, op. 78 [Klaviersonate, Fis-dur], for piano solo. München: Drei Masken Verlag, 1923
Facsimile edition of holograph manuscript; 17 p.
facsimile edition of holograph manuscript; 17 p.
Beethoven, Ludwig van. Sonata, op. 111 [Klaviersonate, C-moll], for piano solo. München: Drei Masken Verlag, 1922
Facsimile edition of holograph manuscript; 41 p.
facsimile edition of holograph manuscript; 41 p.
Mozart, Wolfgang Amadeus. Trio, K. 542 [Klavier-Trios, E-dur], for violin, violoncello, and piano. München: Drei Masken Verlag, 1921
Facsimile edition of holograph manuscript; 27 p.
facsimile edition of holograph manuscript; 27 p.
Correspondence
Correspondence of Artur Schnabel
Curzon, Clifford
Firkušný, Rudolf
Foreman Le Garrec, Mary Virginia
Schoenberg, Arnold (copy only)
Miscellaneous; unidentified
Correspondence of Mary Virginia Foreman Le Garrec
Eisner, Bruno
Fournier, Pierre
Liebowitz, René
Mannes, Leopold
Miller, Arthur
Mitropoulos, Dimitri
Rostra-Hérold, Elizabeth [Ellie]
Stiedry, Fritz
Turner, W.J.
Wolff, Konrad
Writings, 1942-1996, undated
Writings of Artur Schnabel, 1942, 1949, undated
The cadenza - the improvisation, 7 August 1942
Harvard Lectures, introductory material, in the hand of MVFLG, 1949
Harvard Lectures, 1949
Original typescript, in black ink; 11 p.
original typescript, in black ink; 11 p.
Typescript (original and carbon copies), in black ink; 12 p.
typescript (original and carbon copies), in black ink; 12 p.
“Impressions of the Edinburgh Festival,” undated
“Recollections of our time”
Typescript (carbon copies), 11, 7, 8 p.; original typescript, 12, 8, 8 p.
typescript (carbon copies), 11, 7, 8 p.; original typescript, 12, 8, 8 p.
“Schubert Sonatas: a Musician Discusses Reasons for Relative Neglect of Piano Works,” 1942
“What’s wrong with music critics,” 10 January 1942
Miscellaneous text and music material in Schnabel’s hand
Autographs of Schnabel (collected by MVFLG from correspondence fragments); calling cards
Writings of Mary Virginia Foreman Le Garrec, 1961, 1996
Artur Schnabel remembered, 1961, 1996
Original typescript (first section); i, 47 p.
original typescript (first section); i, 47 p.
Artur Schnabel remembered, 1961/1996
Original typescript (second section), pages 47bis-239
original typescript (second section), pages 47bis-239
Original typescript (second section); pages 240-430
original typescript (second section); pages 240-430
Artur Schnabel remembered, French translation (Artur Schnabel: souvenirs et lettres) of first section by Yves Le Garrec, 1961/1996
History of a Love Affair, May 1993, Biarritz, France
Bound notebook in 68 numbered pages; in black ink
bound notebook in 68 numbered pages; in black ink
Miscellaneous notes regarding Schnabel’s compositions
7 (holograph), 1 (photoreproduction) leaves
Concert Programs and Tours, 1933-1951, undated
Concert programs, featuring Schnabel as performer, 1933-1939
Concert programs, featuring Schnabel as performer, 1940-1951
Concert programs, featuring Schnabel’s compositions
Concert tours of Schnabel: itineraries, material in Schnabel’s hand
Biographical Materials
Schnabel's pupils: lists, concert programs, publicity information, clippings
Memorials to Schnabel
Miscellaneous biographical material in the hand of Mary Virginia Foreman LeGarrec
Press Clippings, Published Articles, and Monographs, circa 1920-circa 1990, undated
Press clippings: Schnabel as performer, 1920s-1930s
Press clippings: Schnabel as performer, 1940s-1990s
Press clippings: Schnabel as performer, undated
Press clippings: Schnabel as composer, author, and teacher, dated and undated
Press clippings: Schnabel’s recordings, dated and undated
Press clippings: obituaries of Schnabel
Press clippings regarding friends, acquaintances of Schnabel
Monographs, article reprints by Schnabel's friends: Edward Crankshaw, John Ulric Nef, and Hanns Sachs
Books and Libretti, 1934-1972, undated
Da Ponte, Lorenzo. Music by Wolfgang Amadeus Mozart. Don Giovanni (Don Juan). A Grand opera in two acts. New York: Fred Rullman, Inc., n.d.
Dent, Edward J., Eric Blom, and Clemence Dane. Mozart’s “Così fan tutte.” London: The Governors of Sadler’s Wells Foundation/John Lane the Bodley Head, 1946
Saerchinger, César. Introduction by Clifford Curzon. Artur Schnabel: a biography. London: Cassell & Company Ltd., 1957
Schnabel, Artur. Music and the line of most resistance. Princeton, NJ: Princeton University Press, 1942
Schnabel, Artur. Edited and with an introduction by Edward Crankshaw. My life and music. New York: St. Martin’s Press, 1961
Schnabel, Artur. Reflections on music. New York: Simon and Schuster, 1934
Shakespeare, William. Edited by W.J. Craig. The complete works of Shakespeare. New York: Oxford University Press, n.d.
Turner, W.J. Blow for balloons : being the first hemisphere of the history of Henry Airbubble. London: J.M. Dent & Sons Ltd., 1935
Turner, W.J. Henry Airbubble: in search of a circumference to his breath; being the second hemisphere of the history of Henry Airbubble. London: J.M. Dent & Sons Ltd., 1936
Wolff, Konrad. The teaching of Artur Schnabel: a guide to interpretation. London: Faber and Faber, 1972
Iconography, circa 1934-1952, undated
Original and Published Photographs, Caricatures, and Cartoons, circa 1934-1946, undated
Artur Schnabel alone
Artur Schnabel alone: photoreproduced photographs see also Box 7
Artur Schnabel with others: with MVFLG (New York), 1939
Artur Schnabel with others: with his mother (Vienna), circa 1936-1937
Artur Schnabel with others: with Carl Flesch
Artur Schnabel with others: with Hugo Bekker and Carl Flesch
Artur Schnabel with others: with Pablo Casals, Paul Hindemith and Bronislaw Huberman (Vienna), circa 1935
Artur Schnabel with others: with Willard MacGregor and an unidentified woman (Tremezzo), circa 1934-1935
Artur Schnabel with others: with pupils Peter Diamand, Helen Fogel, Betty Givin, Hertha Kroeling, and wife Therese Schnabel (Tremezzo), circa 1936
Artur Schnabel with others: with members of the American Quartet, in rehearsal (Los Angeles), 1945
Artur Schnabel with others: with members of the London Symphony Orchestra, in rehearsal (London), 1946
Artur Schnabel with others: photoreproduced photographs
Artur Schnabel’s home (“Villa Ginetta,” Tremezzo, Lake Como, Italy) and vicinity
Miscellaneous photographs: Artur Schnabel’s great grandson Christopher Herald [sic]
Photographs of painted portraits: of Artur Schnabel, MVFLG, Therese Schnabel
Caricatures of Artur Schnabel and cartoons regarding Schnabel
MVFLG alone
Large Studio Portrait Photographs and Oversize Iconography, 1935-1952
Artur Schnabel alone, in front of painting of him by Eugen Spiro, dated 1947 by MVFLG
Artur Schnabel and son Karl Ulrich Schnabel, dated 1947 by MVFLG
Artur Schnabel alone, dated 1950 by MVFLG
Artur Schnabel alone; reproduced as the cover of Etude magazine, February 1952
Artur Schnabel alone; reproduced as the cover of Musical Courier magazine, 26 January 1935
Artur Schnabel with Frederick Stock, in rehearsal with the Chicago Symphony Orchestra; reproduced as publicity material for their Victor/Red Seal recording of Beethoven’s Concerto no. 4, undated
Artur Schnabel with Carl Ebert and Bruno Walter; reproduced in Picture Post magazine (article title: “Edinburgh’s Festival”), 20 September 1947
MVFLG, 1948