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New York Public Library for the Performing Arts at Lincoln Center

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The New York Public Library for the Performing Arts' archway from Lincoln Center Plaza at night

The New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center, at 40 Lincoln Eye Plaza, is located in Manhattan, New York City, at the Lincoln Middle for the Performing Arts on the Upper West Side, between the Metropolitan Opera House and the Vivian Beaumont Theater. It houses i of the earth's largest collections of materials relating to the performing arts.[ane] [2] [3] It is i of the 4 research centers of the New York Public Library's Research library arrangement, and information technology is also one of the branch libraries.

History [edit]

Founding and original configuration [edit]

Originally the collections that formed The New York Public Library for the Performing Arts (LPA) were housed in two buildings. The Research collections on Dance, Music, and Theatre were located at the New York Public Library Main Branch, now named the Stephen A. Schwarzman Building, and the circulating music collection was located in the 58th Street Library.

A separate centre to business firm performing arts was first proposed by Carleton Sprague Smith (chief of the Music Partition) in a 1932 report to the library administration, "A Worthy Music Center for New York."[4] (At the time, dance materials and sound recordings were all part of the Music Division.) In that location were attempts to create partnerships with Rockefeller Center (under construction at the time), the Museum of Modern Art, and the Metropolitan Museum of Art (to which New York University wanted to join as a partner). During the late 1930s and early 1940s, the Music Division produced a plan of concerts (based on the model of the Library of Congress concerts in Coolidge Auditorium). These concerts were ofttimes held in conjunction with the Metropolitan Museum of Art and Juilliard School, and the program grew to include Lectures from New York University staff.

Afterward Lincoln Center was incorporated in 1956, an early mention of a possible "library and museum of the performing arts" appeared in June 1957.[5] It was envisioned that a library-museum would serve to "interpret and illuminate the entire range of the performing arts."[6] By Dec of that yr, the library had become an accepted component of Lincoln Center planning and fundraising.[7] Recalling his before reports, Smith produced a new report arguing for a move to Lincoln Center. Library administration officially approved of the movement in June 1959.[8]

The edifice housing the library's research collections and the Vivian Beaumont Theater was the third building to be opened at Lincoln Eye.[nine] Original plans conceived the library every bit a separate building, but prohibitive costs necessitated a combination of the Library and the Theater. As built, the Theater forms the central core of the building, the 1st and 2nd floors occupying the southern and western sides, and the 3rd floor inquiry collections providing a roof. Noted modernist architect Gordon Bunshaft, of the firm of Skidmore, Owings and Merrill (SOM) designed the interiors, and SOM consulted with Eero Saarinen and Associates (architect for the Vivian Beaumont Theater) on the exteriors.[10] The Claire Tow Theater (belonging to Lincoln Center Theater) was built on the roof of the Library and opened in June 2012.

The tertiary flooring, housing the research collections, opened to the public on July 19.[10] The unabridged library was opened to the public on November 30, 1965, the 4th building to open at Lincoln Center.[xi] At its opening, information technology was chosen "Library and Museum of the Performing Arts." The Library's museum component was named the Shelby Cullom Davis Museum in honour of an investment banker who contributed $1 million to Lincoln Center for museum purposes.[11]

At its opening, the Library's main lobby at the Lincoln Center Plaza entrance housed a bookstore, a moving picture viewing area, and a listening area. The second floor included a children's performing arts collection as well as the Hecksher Oval, an enclosed space that could adjust story-telling. Prior to the 2001 renovation, the children'southward collection was relocated to the Riverside Co-operative. The Hecksher Oval was removed equally part of the renovation.

The Shelby Cullom Davis Museum spaces included small and separate areas in the Dance, Music, Sound archive and Theater research divisions. Bigger galleries were the Vincent Astor Gallery on the second floor, and galleries on the lower level and 2nd floor.

2001 renovation [edit]

From 1998 through 2001, the edifice was closed due to a $38 million renovation project designed past Polshek Partnership. (The renovation was unrelated to the Lincoln Center renovations which commenced shortly subsequently 2001.) During this time, the research collections were serviced from the NYPL's Annex (at 10th avenue and 43rd street), and the circulating collections were housed at the Mid-Manhattan Library at 40th Street and 5th Avenue. LPA reopened to the public on October 29, 2001, with its building newly named Dorothy and Lewis B. Cullman Middle afterward a gift from the Cullmans (Dorothy was a trustee until she died; Lewis is however a trustee).[12]

During the renovation, the library was wired to enable installation of numerous computers on each floor. There are nearly 200 publicly attainable computers in the edifice.[13] [ better source needed ] Most are restricted to use of the library itemize and electronic databases or viewing the library's audiovisual material, but a few provide full Internet access. The renovation also created a Technology Preparation Room, with twelve desktop computers for users and i for a teacher, also every bit a projection screen.

Upon the building's original opening in 1965, each research partitioning had a separate reading room. The renovation removed these and consolidated public areas into a single unified public reading expanse, with separate rooms for the Theater on Film and Tape Archive (its screening room named for Lucille Lortel) and Special Collections (its room named for Katharine Cornell and Guthrie McClintic). Subsequently the Special Collections reading room was moved into a portion of the main reading expanse of the tertiary floor, while a screening room for films held by the Jerome Robbins Dance Partitioning and the Reserve Film and Video Collection (originally part of the Donnell Media Center, but absorbed into the Drove in 2008) took its place. Meanwhile, gallery space for the museum was consolidated into two chief gallery spaces with smaller areas for display of other items. The Donald and Mary Oenslager Gallery is located on the first floor, next to the Lincoln Plaza entrance, while the Vincent Astor Gallery (formerly on the second floor) is now located on the lower level, adjacent to the Amsterdam Artery entrance. A small area virtually the Lincoln Centre Plaza entrance houses caricaturist Al Hirschfeld's desk and chair. The main corridors on the first and second floors are used for smaller exhibitions. The third floor has numerous brandish cases highlighting rotating displays of thematic groupings of artifacts from the collections.

The renovation was not without detractors. Critic Joseph Horowitz criticized the third flooring in detail. Where previously each division had its own reading room, the renovation united all public reading areas into 1 room, resulting in less intimacy and more dissonance.[14] Edmund Morris characterized the Special Collections reading room as "a charmless space...[which] exudes a dispirited air of neglect."[xv]

Inquiry collections [edit]

From its inception, LPA has had both a research component (funded mostly with individual money) and a branch library component (funded with significant money from New York Urban center, the residual coming from private contributions).

Materials and formats [edit]

File cabinets contain over a million clippings at LPA

In improver to published works (for instance, books, periodicals, and scores), the research divisions collect an enormous corporeality of unique material: Archival material (textile that was created by or that in one case belonged to an individual or organization), text manuscripts, music manuscripts, dance notation scores, typescripts, prompt books, posters, original gear up and costume designs, programs, and other ephemera are just some of the major categories of materials. The library'due south collection of audio recordings is in all formats that in themselves trace the history and development of sound recording.

The library has 500,000 folders containing clippings on a diverseness of people and subjects pertaining to the performing arts. These clippings can sometimes provide a beginning to those at the initial stage of their research. The library also collects a multifariousness of iconography in diverse forms: photographs, lithographs, engravings, drawings, and others. A contempo internal study estimated that LPA holds approximately four.5 1000000 photographs, including the recently caused drove of New York photographer Martha Swope, itself property ane one thousand thousand photographs.

Much of this not-book material was not initially in the online catalog.[xvi] Some materials are accessible through in-house card files and indexes. Policy since changed to bring as much of the textile every bit possible into the main catalog, and by 2013, most of it was accessible in the catalog. Because of the enormous volume of material, some classes of information technology, such equally the clipping files, has never been inventoried, although it is arranged in a retrievable fashion with an alphabetical or chronological arrangement. Unlike most U.Southward. public libraries, the enquiry collections stacks are located in non-public areas and are not available for browsing. Patrons must determine what they want to view, fill out call slips, and submit the slips to library staff. Library staff then retrieves the material for the patron.

The holdings of LPA are divided past subject into divisions, which contain a number of special centers.

Music Division [edit]

The Music Division, equally a founding division of The New York Public Library, is the oldest of all the divisions at LPA. Its origins stalk from the private library of banker Joseph William Drexel. Upon his death in 1888, his valuable library of 5,542 volumes and 766 pamphlets, known every bit the Drexel Collection, became part of the Lenox Library. The Astor Library besides had an endowment that helped with the buy of music. In 1895, upon the Lenox Library's consolidation with the Astor Library, the Music Partition became 1 of the first subject divisions of The New York Public Library.[17] [18]

According to The New Grove Dictionary of Jazz, the library has item stiff manuscript holdings in jazz, These include 400 of Benny Goodman's arrangements, and the arrangements fabricated by Sy Oliver for musicians including Duke Ellington, Jimmie Lunceford, and Tommy Dorsey. It holds working scores of works by Ellington, and past Charles Mingus as well as all-encompassing microlim copies of Mingus' manuscripts.[19]

Classical music manuscript holding include manuscripts by Bach, Johannes Brahms, Franz Liszt, Glinka, Handel, Haydn, Korngold, Mozart, Paganini, Schubert, and Schumann.[xx]

Billy Rose Theatre Sectionalisation [edit]

The Library has been collecting theatrical materials for years prior to 1931, when the executors of David Belasco's estate offered the producer's holdings on the condition that a partition be created. The Theatre Collection (as it was initially known) began on September i, 1931. The partition opened at Lincoln Center as the Theatre Drove. In 1956 the theatre collection of the New York Public Library was recognized with a Special Tony Award. In 1979, it was renamed the Billy Rose Theatre Partitioning, honoring a financial souvenir from the lyricist/producer'due south foundation. It is now the largest research division at the library, with holdings primarily on the theatre, and increasing on film, with some collections on the related subjects of vaudeville, magic, puppetry, and the circus.[ citation needed ] The Theater of Film and Record Annal is administratively within the division.

The Theatre division includes the Theatre on Film and Record Archive (TOFT) which produces video recordings of New York and regional theater productions, and provides research admission at its Lucille Lortel screening room. The collection is considered one of the most comprehensive collections of videotaped theater productions in the world.[21] Archives modeled on TOFT include the Museum of Performance & Design in San Francisco, the Washington Surface area Performing Arts Video Annal established in Washington, D.C., and the National Video Archive of Performance in London. The core of the collection consists of live recordings of Broadway and Off-Broadway productions, with some additional productions from professional regional theaters. The Annal also records interviews and dialogues with notable theater professionals. In addition to live performances, commercial recordings of theater-related films, documentaries, and television programs are as well included in the collection. Currently between 50 and threescore live recordings are produced each year, covering most important productions. Equally of fall of 2016, the collection included 7,901 titles.[22]

Jerome Robbins Trip the light fantastic Sectionalisation [edit]

The Jerome Robbins Dance Sectionalisation began in 1944 under the auspices of Genevieve Oswald.[23] Originally trip the light fantastic toe materials were role of the Music Division (when information technology was known as the "Dance Collection"), only its growth necessitated hiring a full-time staff member in 1947.[24] Acquisitions were augmented past gifts of papers of Ted Shawn and Ruth St. Denis, Doris Humphrey, Charles Weidman, and Hanya Holm. With the gift of a drove of Walter Toscanini in accolade of his deceased married woman, Cia Fornaroli (a dancer), the Dance Collection became an internationally known repository.[24] Due to its subsequent growth and increasing importance, the collection was formally recognized as a separate division on Jan 1, 1964.[25]

1 of the sectionalization's well-nigh significant resource is the Jerome Robbins Archive of the Recorded Moving Paradigm. Endowed with a gift from Jerome Robbins, this archive collects and preserves moving images of trip the light fantastic, making them available to researchers. The Archive has received many gifts from dancers and choreographers and contains many privately made films and video.[26]

The Sectionalisation'south oral history program began formally in 1965. These oral histories are particularly valuable since they provide information, history and context not generally available in published sources.[27]

Reserve Flick and Video [edit]

Screening room for the Reserve Film and Video collection; moviola and Steenbeck equipment are on the correct

Though not technically a part of the Research divisions, the Reserve Flick and Video Collection (formerly the Donnell Media Heart) is serviced from the third floor. For film and video that must be viewed onsite, there is a screening room (large enough for classes) equipped with a 16 mm projector. There are too moviolas and Steenbeck equipment, permitting close frame-by-frame test and analysis.

Rodgers and Hammerstein Archives of Recorded Audio [edit]

The origins of the Rodgers and Hammerstein Archives of Recorded Sound tin be traced to a gift of 500 78-rpm records past Columbia Records in 1937 to the Music Sectionalization. Successive gifts by record companies and individuals led to the formal cosmos of a separate partitioning with the opening of the building at Lincoln Eye in 1965. It was named in exchange for a individual donation from the Rodgers and Hammerstein organization.[28] Radio station WQXR donated xi,000 78 rpm recordings in 1966.[29] Carleton Sprague Smith envisioned the purpose of the sound archive as "stimulating involvement among recording and broadcasting executives, as well as other arts institutions that had potential for playing a cooperative function."[30] Resources include the Rigler-Deutsch Alphabetize, which lists of library's extensive holdings of 78 rpm records.

Co-operative (Circulating) Collections [edit]

A portion of the circulating DVDs

The ancestry of the circulating music collection are due in great part to its showtime head librarian, Dorothy Lawton.[31] Lawton took role in the institution of the music collection at the 58th Street Library in 1920, start with a collection of 1,000 books and scores. In 1924, the circulating music collection was officially established as part of the 58th Street Library.[32] Her passion for dance enabled her to become unusual publications, and then much that trip the light fantastic toe critic John Martin complimented her on the growing collection of dance books.[33]

In 1929, the 58th Street Library began a collection of recordings beginning with gifts from Victor and Columbia records, amounting to 500 records. Upon building a listening berth, Lawton reported that by 1933, the listening booth was constantly booked 2 weeks in advance.[34]

During World War Ii, she established a concert series for servicemen on Sundays from three–vii PM. Servicemen could asking selections of their choice and could also participate in playing chamber music with instruments that had been loaned to the Library. She established the Orchestra Collection, a set of scores and parts that could be loaned to groups for functioning. Currently, the Orchestra Drove loans parts to over ii,000 works.[35]

Upon Lawton's retirement in 1945, chief music critic of The New York Times Olin Downes complimented her on the evolution of the 58th Street Library, and remarked on her achievements such as attracting donors and enlisting the concern and aid of professional musicians.[36] (Many of the rare items that were gifts to the 58th Street Co-operative were after moved to the Music Division.)

Afterwards retiring, Lawton returned to the land of her birth, England, and help organize a newly created music collection at Fundamental Music Library of the Buckingham Palace Road Library (today the Westminster Music Library), modeling the new library on the ane she established at 58th Street.[31] [37] [38] Currently, the Circulating collections loan books on music, trip the light fantastic toe, theater, film, and arts administration. They also loan scores, scripts, CDs, videotapes, DVDs, and sets of orchestral parts.

Shelby Cullom Davis Museum [edit]

A display wall of the Shelby Cullom Davis Museum

The museum component of LPA takes the form of exhibitions in its ii main exhibition spaces, The Donald and Mary Oenslager Gallery and the Vincent Astor Gallery, as well every bit a walled surface area in the plaza entrance, and additionally display cases distributed throughout the building. Among the purposes of the exhibitions is to prove to all visitors that the millions of items belonging to the library are non for the exclusive use of scholars but for anyone who walks in the door.[39] Exhibitions highlights items from the library'south collections and keep the name of the library before the public, attracting new and potential donations.[40]

Since the late 1990s, NYPL's exhibitions program has added online exhibitions. Online exhibitions serve as an extension of physical exhibitions, adding more than material or assuasive a greater depth of exploration.

Public programs [edit]

Public programs are gratis of charge and accept identify in the 202-seat Bruno Walter Auditorium located on the lower level. The auditorium is used several times a week for musical performances, film screenings and lectures.[41]

See also [edit]

  • Carleton Sprague Smith

Further reading [edit]

  • Sydney Beck, "Carleton Sprague Smith and the Shaping of a Great Music Library: Harbinger of a Center for the Performing Arts (Recollections of a Staff Member)" in: Libraries, History, Diplomacy, and the Performing Arts: Essays in Honor of Carleton Sprague Smith. Festschrift Series no. 9. Stuyvesant, NY: Pendragon Press, 1991. ISBN 978-0-945193-13-five
  • Miller, Philip L. and Frank Campbell, "How the Music Partition Grew-A Memoir (parts ane–ii)." Notes vol. 35, no. 3 (March 1979), pp. 537–555; role three: vol. 36, no. 1 (September 1979), pp. 76–77; part 4: Vol. 38, No. 1 (September 1981), pp. fourteen–41.
  • Williams, Sam P. Guide to the Research Collections of the New York Public Library. New York: New York Public Library, 1975. ISBN 0-8389-0125-5

References [edit]

  1. ^ The New York Public Library. "New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center". Nypl.org. Retrieved Feb 12, 2013.
  2. ^ New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Eye, accessed September 4, 2011.
  3. ^ "New York Public Library for the Performing Arts | 40 Lincoln Heart Plaza". Timeout.com. October 5, 2010. Retrieved Feb 12, 2013.
  4. ^ Beck, p. 20ff.
  5. ^ Howard Taubman, "Borough Pride: Metropolis Officials Should Work for Lincoln Center as a Municipal Necessity," The New York Times (June 2, 1957), p. 121.
  6. ^ Beck, p. 38.
  7. ^ "Commission Fix Upward To Seek Arts Fund," The New York Times (December ii, 1957), p. 29.
  8. ^ Brook, p. 39.
  9. ^ Milton Esterow, "Beaumont Theater Opens at Lincoln Eye," The New York Times (October 13, 1965), p. 1.
  10. ^ a b Allen Hughes, "Library and Museum 01 the Arts At Lincoln Middle Set up Presently," The New York Times (Oct 21, 1965), p. 57.
  11. ^ a b "Library-Museum of the Arts Opens at Lincoln Center," The New York Times (Dec 1, 1965), p. 55.
  12. ^ Mel Gussow, "Mantle Going Up at the Performing Arts Library", The New York Times (Oct 11, 2001), p. E1.
  13. ^ Personal communication from It staff, May 12, 2011.
  14. ^ Joseph Horowitz, "Quiet, Please. This Is a Library Later on All", The New York Times (Jan 27, 2002), p. A31.
  15. ^ Edmund Morris, "Sacking a Palace of Culture", The New York Times (Apr 21, 2012), p. SR7.
  16. ^ A 1995 brochure indicated that 80% of the materials at LPA were not in the online itemize.
  17. ^ Williams, p. 142.
  18. ^ Much of the content of this department is derived from the thorough history of the Music Sectionalization through 1981 in a four-part article: Philip 50. Miller, Frank C. Campbell, Otto Kinkeldey, "How the Music Division of the New York Public Library Grew-A Memoir," Notes Vol. 35, No. 3 (March 1979), pp. 537–555 (parts 1–2), Vol. 36, No. 1 (September 1979), pp. 65–77 (part 3), Vol. 38, No. 1 (September 1981), pp. 14–41 (office four).
  19. ^ "Libraries and archives." The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford Academy Press, accessed March 28, 2013, [i].
  20. ^ Rita Benton. "Libraries." Grove Music Online. Oxford Music Online. Oxford Academy Press, accessed March 28, 2013, [two]
  21. ^ ["After the Final Curtain, Act II"], The New York Times (June nine, 2013).
  22. ^ 2016 Annual Study
  23. ^ Clive Barnes, "Trip the light fantastic: Drove Moves to New Home," The New York Times (January 4, 1966), p. 21.
  24. ^ a b Williams, p. 151.
  25. ^ Philip L. Miller, "How the Music Partition Grew-A Memoir," Notes vol. 35, no. iii (March 1979), p. 549.
  26. ^ Williams, pp. 151, 154.
  27. ^ Williams, p. 155.
  28. ^ Williams, p. 149.
  29. ^ "Lincoln Middle Receives 11,000 Disks From WQXR," The New York Times (June ix, 1966), p. 53.
  30. ^ David Hall, "The Rodgers and Hammerstein Archives of Recorded Sound, The New York Public Library at Lincoln Center," in: Libraries, History, Diplomacy, and the Performing Arts: Essays in Honour of Carleton Sprague Smith, Festschrift Series no. 9 (Stuyvesant, NY: Pendragon Press, 1991), p. 43
  31. ^ a b "Dorothy Lawton, Librarian, 85, Dies," The New York Times (February 21, 1960), p. 92.
  32. ^ Circulating Music Collection, accessed September 5, 2011.
  33. ^ John Martin, "The Dance: A Treasury: Important New Volumes Added to Growing Collection at Library", The New York Times (October 4, 1931), p. 116.
  34. ^ Compton Pakenham, "Review of Newly Recorded Music," The New York Times (April 15, 1934), p. X6.
  35. ^ website, accessed September 9, 2011.
  36. ^ Olin Downes, "Librarian Retires: A Tribute to Dorothy Lawton-Her Contribution to Our Musical Life," The New York Times (July 8, 1945), p. xviii.
  37. ^ Olin Downes, "London Library: Music Establishment Formed Along Lines of 58th Street Branch Here," The New York Times (August 10, 1947), p. X6.
  38. ^ "London Library," The New York Times (November 14, 1948), p. X7.
  39. ^ Eleanor Blau, "Performing Arts Library Celebrates," The New York Times (May 29, 1991), p. C14.
  40. ^ Frank C. Campbell, "How the Music Division of the New York Public Library Grew-A Memoir, part iv," Notes vol. 38, no. 1 (September 1981), p. 15.
  41. ^ Most Public Programs at the Library for the Performing Arts.

External links [edit]

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Source: https://en.wikipedia.org/wiki/New_York_Public_Library_for_the_Performing_Arts

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