Florence Levin Lockshin Papers, 1924-1995
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Sophia Smith Collection Smith CollegeNorthampton, MA
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Encoded Archival Description (EAD) Version 2002
collection
Florence Levin Lockshin Papers
Creation of Florence Levin Lockshin Papers
Time of Creation of Florence Levin Lockshin Papers
Lockshin, Florence Levin, 1910-1997
Biographical History for: Florence Levin Lockshin Papers
Biographical Note Florence Helen Levin was born March 24, 1910 in Columbus, Ohio, the daughter of Samuel M. and Jennie (Klein) Levin. Levin had an early interest in music, winning competitions in concert piano in her teen-age years. She majored in music at Ohio State University, where she met, and in 1933 married, Samuel D. Lockshin. The couple had twin sons, Richard and Michael. After earning a B.S. in music in 1931, she continued to perform and was a founder of the Four Piano Quartet in Mansfield, Ohio. Most of Lockshin's early compositions were for the piano. She wrote and often arranged works to be played by the Quartet. In 1951, the Four Piano Quartet represented Ohio at the 26th Biennial Convention of the National Federation of Music Clubs. In 1952, Lockshin moved to Northampton, Massachusetts, where she studied composition at Smith College (1952-55) under the tutelage of composer Alvin Etler. From this point, Lockshin turned her attention to larger ensembles, composing primarily for orchestra or chorus and orchestra. Her first such work was The Cycle (1956-57), a ballet commissioned by the Smith College Dance Department. In 1959, Lockshin began to incorporate folk themes into her work in Annie Bradley's Tune, a piece based on a short melody sung to Lockshin's twin sons by their African-American nurse. Paean Santa Maria de Guadalupe (1962) is based on a hymn Lockshin heard penitents sing as they approached the basilica in Mexico City. When her husband's work as a management consultant took them to Arizona in the late 1960s, Lockshin's response to the music she heard there was the orchestral suite Scavarr (1969), based on Yuma and Mojave themes. After retirement, Samuel Lockshin worked for the International Executive Service Corps as a volunteer business consultant in Columbia, Venezuela, and Panama. ¡Cumbia! Fantasy on a Columbian Folk Dance (1977) was inspired by music heard during the Lockshins' many trips to various countries in Central and South America. Interest in women composers spurred by the women's movement, plus interest in all things American connected with the country's bicentennial in 1976, led to a series of performances of Lockshin's work during the 1960s and 70s. Annie Bradley's Tune was the most-performed, both in the U.S. and in concerts of American music in Venezuela and Panama. Florence Levin Lockshin died in Naples, Florida, on September 26, 1997.
Scope and Contents of the Collection The Florence Levin Lockshin Papers consist of 6.25 linear feet of biographical material, subject files, photographs, student notes, speeches, writings, publicity, memorabilia, musical scores, and recordings. The papers contain limited biographical and personal information, focusing primarily on Lockshin's musical compositions. The bulk of the papers consists of scores, dating from 1959 to 1982. In addition there are recordings of several of her works and files of correspondence, publicity, and memorabilia related to performances of the works. There is also a file which demonstrates Lockshin's tireless efforts to interest various musicians in performing her pieces. Subject files on music attest to the sudden interest in women composers fired by the women's movement. Later in life, Lockshin turned to the written word, producing a series of poems. In addition to manuscript and typescript versions of the poems there is material related to Lockshin's efforts to find publishers for these works.
Composition (Music)--History--20th century--Sources
lcsh
Music--Manuscripts--United States
Pianists--United States--Sources
Women musicians--United States--History--20th century--Sources
Women composers--United States--History--20th century--Sources
lcnaf
series
SERIES I. BIOGRAPHICAL AND MISCELLANEOUS MATERIALS (1930-90, n.d.)
This series consists of general biographical material, subject files on a variety of musical topics, photographs, and student notes.
SERIES II. SPEECHES AND WRITINGS (1961-91, n.d.)
The speeches portion of this series contains a typescript and manuscript for undated talks to unidentified groups. The writings portion consists mainly of manuscript and typescript versions of poems by Florence Lockshin. In addition there are a few files of material related to Lockshin's attempts to find publishers for her poetry.
SERIES III. MUSICAL COMPOSITIONS (1924-95, n.d.)
This series is organized into four subseries: General, Performances, Scores, and Recordings. General contains Lockshin's descriptions of her musical compositions, research materials, and miscellaneous correspondence related to some of the compositions. Performances consists primarily of correspondence, news clippings, memorabilia, programs, and publicity related to specific performances of her works. These are arranged alphabetically by title of work and then chronologically by performance date. There is also one folder of material related to Lockshin's efforts to interest other musicians in performing her music. Scores consists of various versions of Lockshin's compositions from manuscript fragments to master sheets to full scores with performance and revision notes. They are arranged alphabetically by title of the work. Scores of student work and unidentified fragments are filed at the end of the scores. There is also one box of duplicate scores available for loan. Recordings consists of phonograph records, and cassette and reel-to-reel audiotapes of various performances of Lockshin's pieces. They are arranged by format and then alphabetically by title of the work. There are also a few cassettes of Cumbia music used as research for her work by that name.
Biographical articles, 1970-90, n.d.
Correspondence, 1960-87, n.d.
Curriculum vitae, circa 1973, n.d.
Memorabilia, 1930-58, n.d.
Music subject files
General, 1982-88, n.d.
American Composers Alliance, 1975
American Music Center, 1963-82
Women composers, 1975-85, n.d.
WYNC radio show "Overture to Women," 1978
Photographs, 1976, n.d.
Smith College, 1954
Student notes (probably Ohio State University)
Miscellaneous, n.d.
Music 603, "Music in France," n.d.
Speeches
"The Jew in the Field of Art," n.d.
Modern Music and Musicians, n.d.
Writing
General, 1961-85, n.d.
Publication contacts, ideas, and leads, 1980-87, n.d.
"Aye Cumbia," n.d.
"Muriel," n.d.
"Shrewsbury Shottische," 1987
"Small Vehicle," 1990, n.d.
Poetry
Correspondence re: publication, 1984-91, n.d.
Lists, n.d.
Manuscripts, 1956-89, n.d.
Manuscript notebooks, 1983-85
Typescripts, 1983-85, n.d.
General
Descriptions of compositions, 1957-77, n.d.
Do Not Go Gentle Into That Good Night text copyright: correspondence, 1975
Independent Music Publishers, Inc., 1947-81, n.d.
Indian project, 1969-72, n.d.
Notes and fragments, n.d.
Paean Santa Maria de Guadalupe: notes and research, n.d.
Scavarr: research, 1932, 1968, n.d.
Performances
Contacts, ideas, and leads, 1953-95, n.d.
Correspondence, clippings, programs, memorabilia, and publicity
Annie Bradley's Tune
Columbus Symphony Orchestra (1960), 1957-60, n.d.
Indianapolis Symphony Orchestra (1961), 1958-61, n.d.
Brooklyn Philharmonia (1967), 1966-67, n.d.
Westchester Symphony Orchestra (1967), 1967, n.d.
Orquesta Sinfonica de Panama (1975), 1975, n.d.
Orquesta Sinfonica Venezuela (1976), 1976, n.d.
The Cycle, Smith College (1957), 1956-57, n.d.
Paean, Stockton Symphony (1976), 1976, n.d.
Scores
Annie Bradley's Tune: Fantasy on a Negro Folk Song for orchestra, 1959
Full score
Manuscript
Original version
With performance notes and revisions
Revised
Anniversary (Yahrzeit) song, 1949: manuscript scores
Aural: Verse for Orchestra (original title Rallentando), 1962-63
Piano score (manuscript)
Master sheets
Instrumental parts
Based on Blues for Mixed Quintet (clarinet, horn, trumpet, trombone, and piano), 1978
With handwritten revisions
Cowboy Waltz (song), n.d.: manuscript scores
¡Cumbia! Fantasy on a Columbian Folk-Dance (based on two themes by Efrain Mejia) for Orchestra, 1977
"Final Simple Version"
Instrumental parts: master sheets
The Cycle: Ballet for Orchestra, 1956-57
With notes for revision
"Changes in Orch" with performance notes
Do Not Go Gentle Into That Good Night for Men's Chorus with Instrumental Accompaniment (Dylan Thomas), 1959
Instrumental Parts: master sheets
Do Not Go Gentle Into That Good Night for Men's Chorus with Instrumental Accompaniment (Dylan Thomas), revised version (lower), 1978: manuscript, full score, and vocal score
Dusty Baby (song, music and lyrics by FLL), circa 1982: manuscript scores
Introduction, Lament and Protest (Memorial to Fay August Bender) for Orchestra, 1964-67
Manuscript drafts
With handwritten corrections
Lament (from Introduction, Lament and Protest): corrected score
Paean Santa Maria de Guadalupe for Orchestra, 1962
With handwritten corrections and performance notes
Prospice for Mixed Chorus and Orchestra (text Robert Browning), 1980 (to Gonzalo Castellanos Y.)
Manuscript and drafts
Score (master sheet transfer)
Scavarr (Songs of the Yuma and Mojave Indians) Suite for Orchestra, 1969 (Earlier name: Yuma County Impressions)
Original (master sheet transfer)
Sonata for Four Pianos, n.d.: manuscript score
Sonata for Two Pianos, n.d.: manuscript score
Song for Women's Chorus with Instrumental Accompaniment (text Christina Rosetti), 1980
Master sheet transfer
Song Form for Orchestra, 1961 (former name: Song and Blues)
Trilogy: Poems of Prospice (consists of Do Not Go Gentle Into That Good Night, Song, and Prospice): score, 1981
Variations on Five Notes for Four Pianos, 1951-53: manuscript score and drafts
Waltz for Four Pianos, 1953: manuscript score and drafts
Student pieces, 1924, n.d.
Student pieces, Smith College
Fragments and miscellaneous manuscripts, n.d.
Scores-Loan Copies
Aural
Based on Blues
¡Cumbia!
The Cycle
Do Not Go Gentle Into That Good Night
Introduction, Lament and Protest
Propice
Song
Trilogy
Recordings
Phonograph records
Columbus, 1960
Indianapolis, 1961
The Cycle (?)
Variations on Five Notes for Four Pianos, rehearsal, Mansfield, OH, n.d.
Waltz for Four Pianos, 24 Apr 1951
Audiotapes: cassette
Columbus Symphony rehearsal tape, 1960
Orquesta Sinfonica Venezuela, 11 Jul 1976 "taken at concert by Sam"
Complete concert
Annie Bradley's Tune only
Panama City, 1975
WNYC, 2 Jul 1978
"not clear"
Once de Novembre Cumbia (Efrain Mejia) by Siglo XX, Hotel el Prado, 1972
Cumbia Columbiana, 11 Nov, "native group"
Cumbia groups, 1972
Audiotapes: reel-to-reel
Columbus Symphony Orchestra, 1960
Monophonic 1960
Stereophonic
Monaural, edited version
Indianapolis Symphony Orchestra, 5 Nov 1961 1960
Orquesta Sinfonica Venezuela, 11 Jul 1976
Unknown performers
The Cycle, n.d.
Florence Levin Lockshin Musical Compositions
Annie Bradley's Tune: Fantasy on a Negro Folk Tune for Orchestra (1959)
Anniversary (Yahrzeit) (song, 1949)
Aural: Verse for Orchestra (1962-63)
Based on Blues for Mixed Quintet (1978)
Cowboy Waltz (song, n.d.)
¡Cumbia! Fantasy on a Columbian Folk Dance for Orchestra (1977)
The Cycle: Ballet for Orchestra (1956-57)
Do Not Go Gentle Into That Good Night for Men's Chorus with Instrumental Accompaniment (1959, text: Dylan Thomas)
Dusty Baby (song, 1982)
Introduction, Lament, and Protest for Orchestra (1964-67)
Paean Santa Maria de Guadalupe for Orchestra (1962)
Prospice for Mixed Chorus and Orchestra (1980, text: Robert Browning)
Scavarr (Songs of the Yuma and Mohave Indians) Suite for Orchestra (1969)
Sonata for Four Pianos (n.d.)
Sonata for Two Pianos (n.d.)
Song for Women's Chorus with Instrumental Accompaniment (1980, text: Christina Rossetti)
Song Form for Orchestra (1961)
Trilogy: Poems of Prospice (consists of Do Not Go Gentle Into That Good Night, Song, and Prospice)
Variations on Five Notes for Four Pianos (1951-53)
Waltz for Four Pianos (1953)