1960s Screened/Litho EARLY MUSIC THEMED Greeting Cards Lot to Noted Musicians

Description

1960s Screened/Litho EARLY MUSIC THEMED Greeting Cards Lot of Four to Noted Musicians
Lot of four vintage 1960s greeting cards with musical themes, from the estate of Claire Brook and Barry S. Brook, both noted in the classical music world. Lot includes: 3 Musicians, by Carla M. Flood, Velvetone Screen Print design No. 6515, 3-1/2 x 4-7/8 inches, Fine; Franchino Gaffurio's Theorica Musice Laundensis 1492 (pipe organ), NY Public Library Publ., 6-1/4 x 4-1/2 inches, Very Good; 4 Musicians, unknown publisher - possibly French, 5-1/2 x 4-1/4 inches, Very Good; Mandora Woodcut 1636, MMA Publ. 1957, 4-3/4 x 3 inches, Fine (sent by Joseph A. Surace, a music arranger at Remick Music Corp.). It is possible the other three cards are from prominent people in the publishing/music industry as well, because of who they were sent to. There are no envelopes with these cards, just what you see in the scans.
Barry Shelley Brook (November 1, 1918, New York City – December 7, 1997, New York City) was an American musicologist.
Brook received his master's degree from Columbia University, where he studied with Paul Henry Lang, Erich Hertzmann (1902–1963), Hugh Ross, and Roger Sessions, in 1942; he received the doctorate from the Sorbonne in 1959. He became a fellow at City College of New York (1940–42), continued at Queens College (1945–89), and founded the graduate program in music at the City University of New York in 1967; he served as the program’s Executive Officer until his retirement in 1989.
Brook taught frequently at the Sorbonne. In 1984, the Centre National de la Recherche Scientifique asked him to design a new doctoral program in musicology at the École Normale Supérieure in Paris. Along with his duties at City University, he spent much time teaching in that new program in Paris.
Brook’s research interests included Renaissance secular music, 18th- and 19th-century music and aesthetics, music iconography, and the sociology of music. He served as editor of a facsimile edition of the Breitkopf Thematic Catalogues (New York, 1966), an important source for the identification and dating of 18th-century compositions. His interest in music bibliography and its history led him to found RILM, the first international bibliography of music scholarship, in 1966; he served as the project’s Editor-in-Chief until 1989.
Although he was known principally for his work in classical music, in the later years of his life Brook became fascinated with ethnomusicology. He often sought out and trained budding music historians in how to bring their reports and studies of local music traditions into the mainstream, academic world of music history.
Writer, editor, and composer Claire Brook (1925–2012) was born in New York to Russian immigrant parents. She studied music in high school and college and earned a master’s in composition from Columbia University. After publishing several songs in the late 1940s and early 1950s, she gave up her career in composition in favor of publishing, in part because of the difficulties faced by women composers.
She served as vice president at W.W. Norton, one of the most prestigious publishing firms in the United States. Her appointment as the sole music editor at Norton in 1973 was a significant accomplishment for a woman at that time. After her retirement from Norton, she served as executive editor at Pendragon Press, a small press focused on musicological books that she founded with her husband, Barry, and brother, Robert Kessler. At Pendragon, Brook oversaw several significant series, including Lives in Music, the Xenakis series, and the French Opera in Facsimile series.
Brook was married to musicologist Barry S. Brook for 35 years, from 1958 until his death in 1997.
210805 / 3832 R8/8/2021 AUS
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