File contains an exhibition program that includes a biography of Ellen Ballon, press tributes, lists of musical scores, correspondence, photographs, and autographed books. Also includes a short biography of Ellen Ballon written in 1972 by Grace Tratt, former Head of Special Collections at Dalhousie University.
Item is a copy of a manuscript composition by Alan Hovhaness, inscribed to Ellen Ballon. The composition is based on an Armenian folktale and is comprised of two movements, each of which imitates Armenian instruments (tmpoog for the first movement and the kanoon and oud in the second movement).
File includes a postcard with a black and white photograph of Pietro Mascagni (1863-1945), an Italian opera composer. The postcard has various signatures on the front, including Francesco Marconi (1855-1916, operatic tenor from Rome) and four other illegible signatures. The postcard is addressed to Frau Dr. Lehnsern(?) of Berlin. File also includes the incipits of three pieces by Ignaz Moscheles (1794-1870), signed at dated October 3, 1844. There are also five letters written by the following composers: Jacques Offenbach (1879), Gustav Mahler (1899), Edvard Grieg (1902), Maurice Ravel (1921), and Ignacy Paderewski (n.d., 1860-1941).
Item also includes a memo, performance information, and a note regarding the composition's publication by Max Eschig. The score was copied by Henrique Martins and is dedicated to Arminda Neves d'Almeida (Mindinha).
Item is a copy of an autograph version of Heitor Villa-Lobos' Bachianas Brasileiras No. 3, including performance notes. The score was reproduced and bound by Independent Music Publishers of New York City.
File includes an issue of Canadian Review of Music and Art published in 1944 (Volume 2, Numbers 9 and 10). The issue includes an article by John Bauer titled "Ellen Ballon - Canada's Outstanding (Woman) Pianist." Canadian Review of Music and Art was published in Toronto, Ontario by Canadian Review Publishing.
File includes liner notes, recording timing notes, and notes for corrections to the score, all for the recording of Heitor Villa-Lobos' first piano concerto. The liner notes were written by Ralph Gustafson, a friend of Villa-Lobos and Ellen Ballon, to whom the concerto is dedicated and who performed the concerto for its recording in 1948. The concerto was written in Rio de Janeiro in 1945. The file includes directions for transcribing Villa-Lobos' piano concerto from the records of its American premiere in Dallas, Texas with the Dallas Symphony Orchestra, conducted by Antal Dorati.
Subseries contains scores and parts for Villa-Lobos's first piano concerto, dedicated to Ellen Ballon. It includes the autograph manuscript, copies of the manuscript, a two-piano reduction of the concerto, and parts for each of the orchestral instruments (piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 4 trombones, tuba, timpani, tam-tam, triangle, bass drum, harp, strings). The concerto premiered on October 11, 1946 at the Teatro Municipal in Rio de Janeiro, featuring Ellen Ballon as the piano soloist with Heitor Villa-Lobos conducting the Orquestra do Teatro Municipal. The score and orchestral parts were presumably used at the premiere performance as well as a few subsequent performances, indicated on several of the individual instrumental parts.
Item is the celesta part for Heitor Villa Lobos' first piano concerto, dedicated to Ellen Ballon. The part was copied by Fran Averede. The instrumentation has been crossed out in pencil and re-labelled "harpa" (harp).