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Albert McNeil (2017) — Arthur Mendel (1980) (ONLINE | MS) — Steven Mackey interview (2001) (PUBLISHED | MS)— Posts for Musicology Now blog — Schumann Today (2010) — Berlioz, Lately (2002) (ONLINE | MS) — Rev. of David Cairns, Berlioz, vol. I (1999) (ONLINE | MS) — Dear Abbé
BELOW: Scholarly Articles — Reviews — Other Writings (Concert Reviews for San Francisco Classical Voice — Posts for Musicology Now blog — Obituaries & Tributes)
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Articles
1970s
“Undergraduate Preparation for Graduate Study in Music, College Music Symposium vol. 11 (Fall 1971): 23–27.
“Reconstructing a Berlioz Sketch,” Journal of the American Musicological Society vol. 28, no. 1 (Spring, 1975): 125–30.
“The Present State of Berlioz Research,” Acta musicologica vol. 47, no. 1 (January–June, 1975): 31–67.
“Berlioz Au Conservatoire: Notes Biographiques,” Revue de musicologie vol. 62, no. 2 (1976): 289–92.
“Staging the ‘Play of Daniel,’” Early Music vol. 4, no. 2 (April 1976): 159–63.
“Ludus Danielis: Photographs and Production Notes,” Pro Musica I/3 (1976): 12–17.
Report: “The Performance and Interpretation of Josquin’s Masses,” in Josquin Des Prez: Proceedings of the International Josquin Festival-Conference Held at the Julliard School at Lincoln Center in New York City, 21-25 June 1971, ed. Edward Lowinsky et al. (Oxford University Press, 1976), pp. 696–719. Author of the paper, pp. 700–02: “The Meaning of the Ligatures in the Sources.”
“Les Fragments de l’opéra ‘perdu’ de Berlioz: Les Francs-Juges,” Revue de musicologie vol.. 63, no. 1/2 (1977): 78–88.
“Wagner’s ‘Ring’ in Andrew Porter’s English,” review [Richard Wagner, Andrew Porter, Reginald Goodall, English National Opera, Henry Holt, Seattle Opera], 19th-Century Music vol. 1, no. 1 (July, 1977): 62–70.
Holoman, D. Kern and Peter Bloom. “Berlioz’s Music for L’Europe littéraire,” Music Review vol. 39 (1978): 100–09.
TEARSHEETS | MS
1980s
“Hector Berlioz,” biographical article for Britannica Book of Music (Garden City, New York, 1980), pp. 101–06.
TEARSHEETS | MS
“Orchestral Material from the Library of the Société des Concerts,” 19th-Century Music 7, no. 2 (Autumn 1983): 106–18.
“Hector Berlioz (1803–1869): Symphonie fantastique, Op. 14.“ Jacket notes (in English, with French translation by Jacques Fournier) for Deutsche Grammophon Digital Stereo disc 410 895-1: Chicago Symphony Orchestra, Claudio Abbado conducting. Hamburg: Polydor International GmbH, 1984.
“Comment & Chronicle: Joseph Kerman;” also “Joseph Kerman: Bibliography,” 19th-Century Music vol. 7, no. 3 (April 3, 1984): 189–98.
“The Berlioz Sketchbook Recovered.” 19th-Century Music vol. 7, no. 3 (April 3, 1984): 282–317 with separatum facsimile.
“Sacramento Symphony Orchestra,” in Symphony Orchestras of the United States: Selected Profiles, ed. Robert R. Craven (Westport, Connecticut: Greenwood Press, 1986), 36–40.
“The Emergence of the Orchestral Conductor in Paris in the 1830s,” in Music in Paris in the Eighteen-Thirties / La Musique à Paris dans les années mil huit cent trente, ed. Peter Bloom (Stuyvesant, N. Y., 1987), 387–430.
TEARSHEETS | MS
“Orchestre de Paris,” In Symphony Orchestras of the World: Selected Profiles, ed. Robert R. Craven (Westport, Connecticut: Greenwood Press, 1987), 100–07.
“La Musique à faire marcher les hommes,” Encore (a publication of the Grove Music Society) vol. 4, no. 1 (Spring, Summer, 1989): 1–6.
“V. The Nineteenth Century: Introduction,” for Performance Practice: Music after 1600 (The New Grove Handbooks in Music) (London: Macmillan and New York: Norton, 1989), 323–45.
1990s
“Berlioz: Roméo et Juliette; Les Nuits d’été,” jacket notes for Deutsche Grammophon Digital Stereo Disc 427-665 2 (2 compact-disc set): Berliner Philharmoniker, James Levine conducting. Hamburg: Deutsche Grammophon GmbH, 1990.
“Berlioz raisonné,” Le Monde de la musique 131 (March 1990), 60.
“Trojans at the Bastille,” review-article for Milan Corriere della sera, March 1990.
“Berlioz, la Fantastica e il Romanticismo,” Amadeus (Milan, May 1990).
“Ceremony of State; Berlioz: Overtures,” jacket notes for Berlioz: Requiem; Overtures: Le Corsaire, Benvenuto Cellini, Le Carnaval romain,” Deutsche Grammophon Digital Stereo Disc 429724-2 (2 compact-disc set): Berliner Philharmoniker, Luciano Pavarotti, James Levine, conducting. Hamburg: Deutsche Grammophon GmbH, 1992.
Encyclopedia articles for The New Grove Dictionary of Opera, ed. Stanley Sadie (London and New York: Macmillan, 1992): Béatrice et Bénédict, I:363–64; Benvenuto Cellini, I:411–12; Berlioz, Hector, I:434–39; Damnation de Faust, La, I:1056; Troyens, Les, IV:828–32.
Abbreviated and reprinted in The New Grove Book of Operas, ed. Stanley Sadie (London and New York: Macmillan, 1996 [1997]: Béatrice et Bénédict, 74–75; Benvenuto Cellini, 80–82; Troyens, Les, 634–38.
“The Berlioz Catalogue: History, Structure, Problems, Lessons,” Studia Musicologica Academiae Scientiarum Hungaricae 34, no. 3/4 (1992): 295–306, with table of corrigenda.
“Prélude: Pour une nouvelle édition Berlioz,” in Berlioz Liber, ed. Christian Wasselin and Pierre-René Serna. Paris: Éditions Plume, 1993.
“Dispatches from the New Era,” review-article on Hector Berlioz: The Art of Music and Other Essays (A Travers Chants), trans. and ed. by Elizabeth Csicsery-Rónay (Indiana University Press, 1995). In The New York Review of Books 42/10 (8 June 1995): 40-44.
“Godfather,” review-article on Alan Walker: Liszt: The Final Years (New York, 1996). In The New York Review of Books 43/19 (28 November 1996): 35–39.
“Music,” entry in The Encyclopedia of Political Revolutions, ed. Jack A. Goldstone (Washington, D. C.: Congressional Quarterly, Inc., 1998), pp. 358–59. Rpt. Routledge, 2014.
“Berlioz au travail,” Musurgia: Analyse et pratique musicales 6 (1999), 7–32. Revised and corrected extract from chapter 7 of Berlioz in the French translation. Musurgia 6, no. 1 (La génétique des œuvres) (1999): 7–32.
2000s
“Performing Berlioz,” in The Cambridge Companion to Berlioz, ed. Peter Bloom (Cambridge, England: Cambridge University Press, 2000), pp. 173–98.
“Introduction” to Hector Berlioz: A Critical Study of Beethoven’s Nine Symphonies, transl. Edwin Evans (Urbana and Chicago: University of Illinois Press, 2000), pp. vi–xvii.
“Berlioz als Dirigent,” transl. Dagmar Hoffmann-Axthelm, Basler Jahrbuch für Musikpraxis no. 24 (2000): 105–24.
ONLINE ABSTRACT | WORKING PROOF
“Instrumentation and Orchestration: 4. 19th century,” in The New Grove Dictionary of Music and Musicians, 2nd edn. ed. Stanley Sadie with John Tyrrell London: Macmillan, New York: Grove Dictionaries, 2001. Vol. 12, pp. 411–14.
ONLINE Grove Music | MS | PROOF
“Viewpoint: Berlioz, Lately,” 19th-Century Music vol. 25, no. 2–3 (Fall/Spring, 2002): 337–46.
Biographical articles on conductors for Die Musik in Geschichte und Gegenwart. 2nd edition, ed. Ludwig Finscher (Kassel: Bärenreiter): “Habeneck, François-Antoine,” Personenteil vol. 8 (2002), cols. 349–54; “Lamoureux, Charles, vol. 10 (2003), col. 1112; “Pasdeloup, Jules,” vol. 00 (2005), col. 000.
ONLINE 2016 Habeneck | Lamoureux | Pasdeloup | MS all (English)
“Prélude: Pour un nouveau catalogue Berlioz,” Hector Berlioz, ed. Christian Wasselin and Pierre-René Serna (Paris: Éditions de l’Herne, 2003), pp. 22–29.
“Berlioz chef d’orchestre,” pp. 133-34 ; “Le Voyageur,” pp. 163-73; both transl. from English to French by Odile Demange. In Berlioz: La Voix du romantisme, catalogue of the bicentenary exhibition at the Bibliothèque Nationale de France, 13 October 2003–18 January 2004. ed. Catherine Massip and Cécile Reynaud (Paris: Bibliothèque Nationale de France / Fayard, 2003).
@BnF | VIRTUAL EXHIBITION | MS
Articles (58) in Dictionnaire Berlioz, transl. Odile Demange, ed. Pierre Citron and Cécile Reynaud, with Jean-Pierre Bartoli and Peter Bloom (Paris: Librairie Arthème Fayard, 2003), 613 pp. Awarded the Prix de Joest by the Académie des Beaux-Arts of the Institut de France, 2003.
List of articles and page references: Ancessy, Joseph-Jacques-Augustin, p. 31; Arrangements et orchestrations, pp. 36-38; Au bord d’une rivière, H. 132, p. 44; Bender, Jean-Valentin, p. 64; Beverley, ou le joueur, H. 15, p. 74; Catalogue des œuvres, pp. 93-94; Chanson des pirates, H. 34, p. 97; Chant des chérubins, H. 122, p. 98; Chasse de Lützow, Le, H. 63, p. 102; Chef d’orchestre, pp. 103–05; Chœur, H. 57, p. 110; Chœur d’anges, H. 58, p. 110; Dernier jour du monde, Le, H. 61, pp. 146–47; Dietsch, (Pierre-) Louis (-Philippe), p. 153; Elwart, Antoine (-Aimable-Élie), p. 166; Esquisses, p. 176; Estelle et Némorin, H. 17, p. 176; Fête musicale funèbre, H. 72), p. 190; Feuillet d’album daté du 10 janvier 1844, H. 96, p. 192; Feuillet d’album pour l’album d’Édouard Silas, H. 127, p. 192; Feuillets d’album, H. 121, p. 192; Francs-Juges, Les, H. 23, pp. 202-03; Girard, Narcisse, pp. 218–19; Habeneck, François-Antoine, pp. 235–37; Hainl, François Georges, dit George-Hainl, pp. 237–38; Je vais donc quitter pour jamais, H. 6, pp. 286–87; Là ci darem la mano, H. 30, p. 293; Litolff, Henry (Heinrich) Charles, pp. 311–12; Marche d’Isly, H. 108, pp. 326–27; Marche marocaine, H. 105, p. 328; Marche religieuse des mages, H. 27, p. 328; Mélodie pastorale (Nocturne), H. 23B, pp. 337-38; Münch, Charles, 362–63; Nocturne à deux voix, H. 31, p. 381; Œuvres inachevées et projetées, pp. 395–96; Œuvres perdus, pp. 397–99; Orchestration, pp. 405–07; Passage de la mer Rouge, Le,H. 18, p. 422; Pater noster, H. 123, p. 422; Piano, pp. 426–27; Plaisir d’amour, H. 134, p. 429; Pot-pourri concertant sur des thèmes italiens, H. 1, pp. 437-38; Quintettes, H. 2, 3, p. 446; Remaniements et révisions, pp. 461–62; Roi des aulnes, Le, H. 136, p. 473; Romance de M. Tudor, H. 66, p. 477; Salutaris, H. 32, p. 497; “Scène de la comédie,” (Hamlet), H. 102, p. 502; Schmidt, Gustav, p. 505; Snel, Joseph-François, pp. 517–18; Société des Concerts du Conservatoire, pp. 518–20; Sources berlioziennes, pp. 524–27; Souvenirs – Bêtises – Improvisations, H. 93, p. 527; Symphonie militaire, H. 62, pp. 543–44; Urhan [Auerhahn], Chrétien, p. 566; Valentino, Henri (Justin Armand Joseph), p. 569; Valse chantée par le vent dans les cheminées d’un de mes châteaux en Espagne, H. 131, p. 569.
Articles for L’Orchestre de Paris: De la Société des Concerts du Conservatoire à l’Orchestre de Paris, 1828–2008, 60th anniversary commemorative vol., ed. Cécile Reynaud, with DKH and Catherine Massip (Paris: Éditions du Patrimoine / Centre des Monuments Nationaux, 2007): “François Antoine Habeneneck,” pp. 16–17; “La Vie de l’Orchestre,” pp. 37– 54; “Charles Münch,” pp. 52–54.
2010s
“Orchestral Music,” Oxford Bibliographies Online, 23 March 2012.
“Saint-Saëns at the Société des Concerts du Conservatoire de Paris (1903–1904),” in Camille Saint-Saëns and His World (Princeton: Princeton University Press / Bard Music Festival Series, 2012), pp. 125–33.
Chapters for Nineteenth-Century Choral Music, ed. Donna M. Di Grazia (New York: Routledge / Taylor and Francis, 2012): “2: Vox Humana: Choral Voices in the Nineteenth-Century Symphony,” pp. 21–29; “4: Masses and Requiems: Introduction,” pp. 41–42; “Beethoven: Missa solemnis,” pp. 42–48; “Berlioz: Grande Messe des morts,” pp. 49–54; “Brahms: Requiem,” pp. 55–63; “Verdi: Requiem,” pp. 64–68; “Fauré: Requiem,” pp. 69–75; “5: Works with Secular and Non-Liturgical Texts: Berlioz: La Damnation de Faust,” pp. 76-63; “Mendelssohn: Elias / Elijah,” pp. 84–90; “ Dvořák: Stabat Mater,” pp. 91–95; “Elgar: The Dream of Gerontius,” pp. 96–102; “Mahler, Symphony No. 9 in E-flat Major,” pp. 103–09.
@Routledge | Proofs DKH archive | MS (all)
“Controverses à la Libération autour de l’atitude de Charles Munch,” in La Musique à Paris sous l’Occupation, ed. Myriam Chimènes and Yannick Simon (Paris: Cité de la Musique / Fayard, 2013), pp. 207–13.
“The Paris Conservatoire in the Nineteenth Century,” Oxford Handbooks Online, April 2015.
“Charles Munch, the Boston Symphony Orchestra, and RCA,” program booklet for Charles Munch: The Complete RCA Album Collection, 86-CD boxed set ([Munich]: Sony Music Entertainment, 2016).
CONTENTS @ Sony Classical | MS
Articles for The Cambridge Berlioz Encyclopedia, ed. Julian Rushton (Cambridge: Cambridge University Press, 2017): Catalogues, Compositional Process, Conducting, Conductors, Dietsch, Gerono, Habeneck, Munch, Requiem, Rocquemont, Société des Concerts.
“Nouveaux documents pour l’étude des sources berlioziennes: la deuxième édition du Catalogue Berlioz,” in as-yet untitled volume for Berlioz 2019 Ouvrage et Colloque International, Festival Berlioz de La Côte-Saint-André, France.
Reviews: Books and Music
1970s
Review of Hector Berlioz: Les Grotesques de la Musique, ed. Léon Guichard (Paris, 1969). In Notes, vol. 28, no. 4 (June, 1972): 690–692.
Review of Hector Berlioz: Correspondance générale I, 1803–32 (Paris, 1972). In Journal of the American Musicological Society vol. 26, no. 1 (Spring, 1973): 167–171.
Review of Felix Mendelssohn-Bartholdy: Choral cantatas: Jesu meine Freude and Ach Gott, vom Himmel sieh’ darein, ed. Brian W. Pritchard (Hilversum, 1982). In Notes vol. 30, no. 3 (March, 1974): 600–02.
Review of Rey M. Longyear: Nineteenth-Century Romanticism in Music (Englewood Cliffs, N.J., 2nd edn. 1972). In Notes vol. 30, no. 4 (June, 1974): 779–81.
Review of Hector Berlioz: Te Deum (New Edition of the Complete Works), ed. Denis McCalden (Kassel, London, etc., 1973). In Notes vol. 31, no. 2 (December, 1974): 383–84.
Review of Georges Bizet: Te Deum, ed. Johannes Wojciechowski (London and Hamburg, 1971). In Notes vol. 31, no. 4 (June, 1975): 870–71.
Review of Hans Bartenstein: Hector Berlioz’ Instrumentationskunst und ihre geschichtlichen Grundlagen (Baden-Baden, 1974). In Notes vol. 32, no. 1 (September, 1975): 32:58–59.
Review of Iain Hamilton: Voyage, for solo French horn and chamber ensemble (Bryn Mawr, 1974). In Notes vol. 32, no. 2 (December, 1975): 388.
Review of Iain Hamilton: Epitaph for This World and Time (Bryn Mawr, 1984). In Notes vol. 32, no. 2 (December, 1975): 404.
Review of Hector Berlioz: Songs for Solo Voice and Orchestra (New Edition of the Complete Works, vol. 13), ed. Ian Kemp (Kassel, London, etc., 1975). In Notes vol. 32, no. 3 (March, 1976): 627–28.
Review of Gaetano Donizetti: Miserere, für 7 Solisten, gemischte Chor und Orchester, ed. Gábor Darvos (Zurich and Budapest, 1974), in Notes vol. 33, no. 4 (June 1977): 944–45.
Review of Stephen Heller: 7 deutsche Lieder, ed. J. J. Eigeldinger (Zurich, 1975). In Notes vol. 33, no. 4 (June, 1977): 946–47.
[End of Notes reviews.]
“Wagner’s ‘Ring’ in Andrew Porter’s English,” review [Richard Wagner, Andrew Porter, Reginald Goodall, English National Opera, Henry Holt, Seattle Opera], 19th-Century Music 1, no. 1 (July, 1977): 62–70.
1980s
Review of Jean Mongrédien: Jean-François Le Sueur: Contribution à l’étude d’un demi-siècle de musique française (1760–1830), 2 vols. Berne, Frankfort/M., and Las Vegas: Peter Lang, 1980. Idem, Catalogue thématique de l’oeuvre complète du compositeur Jean-François Le Sueur (1760–1837) (New York, 1980). In Journal of the American Musicological Society vol. 34, no. 3 (Autumn, 1981): 566–73.
Review of Peter Raby: Fair Ophelia: Harriet Smithson Berlioz (Cambridge, 1982). In Musical Times vol. 124, no. 1690 (December, 1983): 749–50.
Review of Ralph P. Locke: Music, Musicians, and the Saint-Simonians (Chicago, 1986). In Journal of the American Musicological Society vol. 41, no. 3 (Autumn, 1988): 539–47.
1990s
Review of David Cairns: Berlioz: The Making of an Artist (London, 1989). In Music & Letters vol. 72, no. 4 (November 1991): 609–11.
Review of Hector Berlioz: ‘Les Troyens,’ ed. Ian Kemp (Cambridge, 1989). In Music & Letters vol. 72, no. 4 (November 1991): 611–13.
“Dispatches from the New Era,” review of Hector Berlioz: The Art of Music and Other Essays (A Travers Chants), trans. and ed. by Elizabeth Csicsery-Rónay (Indiana University Press, 1995). In The New York Review of Books 42/10 (8 June 1995): 40–44.
“Godfather,” review of Alan Walker: Liszt: The Final Years (New York, 1996). In The New York Review of Books 43/19 (28 November 1996): 35–39.
2000s
Review of Daniel Albright, Berlioz’s Semi-Operas: “Roméo et Juliette” and “La damnation de Faust” (Rochester, NY, 2001). In Opera Quarterly vol. 19, no. 3 (Summer, 2003 [Berlioz commemorative issue]): 504–07.
Review of David Cairns, Berlioz (2 vols. London, 1999; Berkeley and Los Angeles, 2000). In Journal of the American Musicological Society vol. 57, no. 1 (2004): 201–08.
Review of Katherine Bergeron, Voice Lessons (Oxford UP, 2010), in H-France Review 11 (September 2011), no. 200: 1–6.
Other Writings
UCD Music Publications
1981 — Music at UC Davis. Promotional brochure produced at U.C. Davis, autumn 1981.
1981 — Salve Hieronymous: A Birthday Offering for Jerome Rosen, Davis, 1 November 1981, ed. DKH; author of “Berlioz’s Paris Addresses and Rosen’s Paris Addresses,” pp. 8–9.
2001 — Pastyme with Good Companye: Recollections from the first 40 years of the UC Davis Department of Music, as remembered by Jerome Rosen, Richard Swift, Theodore Karp, Sydney R. Charles, D. Kern Holoman. A project initiated by Jerome Rosen and edited by D. Kern Holoman, published by the Department of Music, University of California, Davis, 2001.
1994–2008 — UCD Symphony Endowment Newsletters
Concert Reviews for San Francisco Classical Voice
“Good Show,” review of Sacramento Opera production of Mozart: Don Giovanni (September 2004), San Francisco Classical Voice, 21 September 2004. PDF | “Joy to the World,” review of Santa Rosa SO December holiday concert (4 December 2004), San Francisco Classical Voice, 7 December 2004. PDF | “Well Moderated Brilliance,” review of Kirov Orchestra with Valery Gergiev (Mondavi Center, 10 April 2005), San Francsico Classsical Voice, 19 April 2005. MS | “Schubertiad in Sonoma,” review of Santa Rosa Symphony chamber concert (27 January 2008), San Francisco Classical Voice, 30 January 2008. MS | “Romancing the Tone in Sacramento,” review of Conrad Tao and Sacramento Philharmonic, San Francisco Classical Voice, 13 October 2012. ONLINE - MS | “The Astonishing Rachel Barton Pine,” review of RBP and Sacramento Philharmonic, San Francisco Classical Voice, 12 January 2013 | ONLINE - MS
Posts for Musicology Now, the blog of the American Musicological Society
The blog was Christopher Reynolds's idea, one component of his action plan for the Society during his tenure as its president (2013–14). He telephoned from a Board meeting, inviting me to theorize its mission and oversee its foundation and regular publication: “it will give you something to do during your retirement,” he said, merrily. We decided that the title would be “curator.” I enjoyed the help of Michael Accinno, then a graduate student in our department.
I edited and prepped almost every entry for the first three years, and wrote nearly all the unsigned content. The popular posts from “Dear Abbé” began in October, 2013. Drew Massey joined the staff as co-curator in 2015–16 and led the blog's evolution into the future.
[Note 4 June 2021:] The re-design of Musicology Now that was unveiled in March 2021 included all the content from the inception of the project in 2013, but with new URLs, which have been so updated below. In not a few cases, however, the original formatting was compromised and may be difficult to follow. The original appearance can be found via the Wayback Machine at archive.org.
14 March 2013 — That Party at Lenny's | 21 November 2013 — Camelot | 28 August 2013 — Connecting (Martin Neary, Kenneth Levy) | 27 March 2014 — Joe [Kerman] | 17 April 2014 — The Band Played On (on conference Paris Under the Occupation) | 18 July 2014 — Elements of Style (on Writing About Music, 3rd edition) | 24 September 2014 — Patronage, the Canon, and how the game is still afoot (on Fundraising) | 11 December 2014 — William Scheide (1914–2104) | 6 September 2015 — Losses (on Robert Commanday and Andrew Porter)
Dear Abbé: 29 October 2013 — the Ethelo | 6 December 2013 — Théâtre des Champs-Élysées | 22 December 2013 — Christmas Lists | 22 January 2014 — M. D. Herter Norton | 2 March 2014 — Susan Key and Francis Scott Key | 1 April 2014 — Salade Meyerbeer | 20 June 2014 — Nerd Musicologists | 10 August 2014 — Boston Public Library | 20 December 2014 — The Nutcracker | 22 January 2015 and 23 January 2015 — Photo Quiz | 13 October 2015 — Happy Birthday and copyright | 26 December 2015 — Holiday Greetings
Obituaries & Tributes
Arthur Mendel (1905–79) ONLINE | MS — Gene Chesley (1935–81; with Robert Fahrner and Robert Sarlós) — Walter L. Woodfill (1910–87) AMS Newsletter | UC with Norma Landau and James Shideler — William E. Valente (1934–1993), with Jerome Rosen and Richard Swift — Robert Fahrner (1927–95), with William Kleb and Robert Sarlós — François Lesure (1921–2001) — Charles Soderquist (1947–2004) — Marilyn Mantay (1923–2008) — Elizabeth Popper (1912–2008) — John Wellington (1958–2008) — Jerome Rosen (1921–2011) MS | Davis Enterprise — Claire Brook (1925–12) — William Scheide (1914–2014) — Joseph Kerman (1924–2013) — Sydney Robinson Charles (1922–2014) AMS Newsletter | Music Illustrated Release — Theodore Karp (1926–2015)