During these summer months the New York Public Library has been holding an exhibition at the Research Library of the Performing Arts, Lincoln Center, of manuscripts, drafts, annotations, letters, photographs, posters, objets, objets d'art, and other memorabilia selected from Stravinsky's legacy, and lent by his widow. The exhibition is unprecedented with respect to the collection of objects on display—since, for one thing, it is presumably only after so public a figure's demise that an assortment of this kind becomes open to the possibility of being thus exhibited—although a number of items had been familiar in published form. It is also, I conjecture, the first in a potential succession of exhibitions (depending, primarily, upon the eventual location of, and time at which, the entire legacy of these materials may become, as is to be hoped, in the most positive sense, public property), and it was mounted in conjunction with a Stravinsky Festival celebrating the 90th anniversary of the composer's birth.

Bartok's literary efforts range from books and monographs to shorter essays. According to recent findings, there were no less than 119 extant works. Some of them were written in collaboration with Zoltán Kodály or Sandor Reschofsky; others were originally drafted as lectures which were for the most part given on the radio or at educational institutions.

Bartók's first essay apparently appeared in print in Budapest in 1904. It is interesting to note that except in 1907 and 1915, at least one of his writings was published each year of his life, in a considerable number of languages, and frequently in widely-known journals. His essays may be divided, according to their topics, into eight basic categories (although there is some overlapping): I. The Investigation of Musical Folklore; II, National Folk Music; III, Comparative Musical Folklore; IV, Book Reviews and Polemics; V, Musical Instruments; VI, The Relation Between Folk Music and Art Music; VII, The Life and Music of Béla Bartók; and VIII, Bartok On Music and Musicians.

Comet-like radiance, conviction, fervent intensity, penetrating thought on many levels of seriousness and humor, combined with breath-taking adventurousness and originality, marked the inner and outer life of Stefan Wolpe, as they do his compositions. Inspiring to those who knew him, these inspiring qualities reached many more through his music. A man, a musician, for whom everyone who came close could not help but feel admiration and affection. Contact with him was such an important experience that he was understandably surrounded by many devoted, convinced friends and students who helped with his problems of performance and publication, helped in finding him teaching positions, helped to save his manuscripts during the fire of a few years ago, helped him to move about when his physical condition was deteriorating. The force of his artistic personality, motivated as it was by deep conviction and by an innately original way of doing things, occasionally seemed to be utterly unconcerned with prudence and caution, yet frequently what he did turned out to be the only right way of acting.

• “Taverner” Joseph Kerman

• Tippett's 3rd Symphony Calum MacDonald

• Delius: The Mass of Life John Canarina

• Paris John Canarina

• Brahms Misha Donat

• Mahler Misha Donat

• Symphony No.7 Misha Donat

• Symphony No.5 Misha Donat

• Mantra Christopher Shaw