{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Arthur+Fick%C3%A9nscher+Papers+%0A+++++++++ca.%0A+++++++++1895-1995\u0026f%5Bdate_range%5D%5B%5D=1920","next":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Arthur+Fick%C3%A9nscher+Papers+%0A+++++++++ca.%0A+++++++++1895-1995\u0026f%5Bdate_range%5D%5B%5D=1920\u0026page=2","last":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Arthur+Fick%C3%A9nscher+Papers+%0A+++++++++ca.%0A+++++++++1895-1995\u0026f%5Bdate_range%5D%5B%5D=1920\u0026page=2"},"meta":{"pages":{"current_page":1,"next_page":2,"prev_page":null,"total_pages":2,"limit_value":10,"offset_value":0,"total_count":18,"first_page?":true,"last_page?":false}},"data":[{"id":"viu_viu01897_c02_c06_c01","type":"Item","attributes":{"title":"About Arthur and Edith Cruzan\n                     Fickénscher, 1895/1952","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu01897_c02_c06_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu01897_c02_c06_c01","ref_ssm":["viu_viu01897_c02_c06_c01"],"id":"viu_viu01897_c02_c06_c01","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897_c02_c06","parent_ssi":"viu_viu01897_c02_c06","parent_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Newspaper Clippings"],"parent_ids_ssim":["viu_viu01897","viu_viu01897_c02","viu_viu01897_c02_c06"],"title_filing_ssi":"About Arthur and Edith Cruzan\n                     Fickénscher","title_ssm":["About Arthur and Edith Cruzan\n                     Fickénscher"],"title_tesim":["About Arthur and Edith Cruzan\n                     Fickénscher"],"normalized_title_ssm":["About Arthur and Edith Cruzan\n                     Fickénscher, 1895/1952"],"text":["About Arthur and Edith Cruzan\n                     Fickénscher, 1895/1952","Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Newspaper Clippings","Box Box 3"],"parent_unittitles_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Newspaper Clippings"],"parent_unittitles_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Newspaper Clippings"],"normalized_date_ssm":["1895/1952"],"unitdate_other_ssim":["ca. 1895-1952, n.d."],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":59,"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"containers_ssim":["Box Box 3"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"date_range_isim":[1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952],"_nest_path_":"/components#1/components#5/components#0","timestamp":"2026-06-23T07:35:01.921Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu01897","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897","ead_source_url_ssi":"data/uva-sc/viu01897.xml","title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"normalized_title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"text":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","12731","ca. 2000 items","Collection is open to research.","Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.","Funded in part by a grant from the National Endowment\n            for the Humanities","The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)","See the \n            \n            University of Virginia Library’s use policy.","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha","English"],"collection_title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["12731"],"unitid_tesim":["12731"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"creator_corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"creators_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"acqinfo_ssim":["The collection is a consolidation of gift acquisitions\n            received in the Manuscript and Special Collections\n            Departments of the University of Virginia over the period\n            1941-1997 from Edith Cruzan Fickénscher, Arditha\n            Fickénscher, William W. Jones, Robert Septimus\n            Pace, Jr., Gordon Rumson and anonymous donors.","The original classification numbers (listed below) of\n            all acquisitions to this collection have been consolidated\n            into a single classification number: 12731.","Previous Classification Numbers: Manuscript numbers:\n            1093; 5121,-a-b; 8815; Record Group numbers: RG-21/31.771\n            (.791) (.871) (.921) (.961) (.962) (.971)."],"has_online_content_ssim":["false"],"physdesc_tesim":["ca. 2000 items"],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"bioghist_html_tesm":["\u003cp\u003e\u003cpersname normal=\"Arthur Fickenscher\"\u003eArthur\n         Fickénscher\u003c/persname\u003e, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         \u003cemph render=\"italic\"\u003eHochschule der Musik\u003c/emph\u003eand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.\u003c/p\u003e\n      ","\u003cp\u003eIn 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         \u003cpersname\u003eEdith Cruzan\u003c/persname\u003e, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.\u003c/p\u003e\n      ","\u003cp\u003eIn 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         \u003cpersname normal=\"Arditha Fickenscher\"\u003eArditha\u003c/persname\u003e. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eand the orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAucassin and Nicolete\u003c/title\u003e\u003c/bibref\u003ewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.\u003c/p\u003e\n      ","\u003cp\u003eAt the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.\u003c/p\u003e\n      ","\u003cp\u003eA major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003ein Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         \u003ccorpname\u003eUniversity Glee Club\u003c/corpname\u003eand presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         \u003ccorpname\u003eAlbemarle Choral Club\u003c/corpname\u003e; conducted the\n         University of Virginia and the \n         \u003ccorpname\u003eNorfolk Symphony\u003c/corpname\u003eorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         \u003ccorpname\u003eMcIntire Concerts\u003c/corpname\u003eprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         \u003ccorpname\u003eChrist Episcopal Church\u003c/corpname\u003ein Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.\u003c/p\u003e\n      ","\u003cp\u003eIn 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Land East of the Sun\u003c/title\u003e\u003c/bibref\u003eand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Music Quarterly\u003c/title\u003e\u003c/bibref\u003e(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003ewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003ePiano Quintet\u003c/title\u003e\u003c/bibref\u003e.\u003c/p\u003e\n      ","\u003cp\u003eIn 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.\u003c/p\u003e\n      ","\u003cp\u003eAs a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Sketch"],"bioghist_tesim":["Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eArthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library\u003c/p\u003e\n      "],"prefercite_tesim":["Arthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library"],"processinfo_html_tesm":["\u003cp\u003eFunded in part by a grant from the National Endowment\n            for the Humanities\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Funding Note"],"processinfo_tesim":["Funded in part by a grant from the National Endowment\n            for the Humanities"],"scopecontent_html_tesm":["\u003cp\u003eThe Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:\u003c/p\u003e\n      ","\u003cp\u003eGroup I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.\u003c/p\u003e\n      ","\u003cp\u003eGroup II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         \u003ccorpname\u003eUniversity of Virginia's McIntire\n         Concerts\u003c/corpname\u003e(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.\u003c/p\u003e\n      ","\u003cp\u003eGroup III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eLife and Works of Arthur Fickénscher,\n            American Composer , 1871-1954\u003c/title\u003e\u003c/bibref\u003e, unpublished, 1992).\u003c/p\u003e\n      ","\u003cp\u003eA 33 1/3 rpm recording of \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eWillowwood\u003c/title\u003e\u003c/bibref\u003e, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.\u003c/p\u003e\n    ","\u003cp\u003e(manuscripts, master sheets and prints of musical\n               scores)\u003c/p\u003e\n        ","\u003cp\u003eContents: mixed chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAu clair de la lune\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBonhomme que savez-vous faire?\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eJ'ai du bon tabac\u003c/title\u003e\u003c/bibref\u003e; male chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eVive Henri Quartre\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eCharmante Gabrielle\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMalbrouk\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eKyrie Eleison\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Tibi\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Patri\u003c/title\u003e\u003c/bibref\u003e; 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBenedictus Qui Venit\u003c/title\u003e\u003c/bibref\u003e; 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAgnus Dei\u003c/title\u003e\u003c/bibref\u003e; 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria in Excelsis\u003c/title\u003e\u003c/bibref\u003e; 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAmen\u003c/title\u003e\u003c/bibref\u003e; 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eNunc Demitis\u003c/title\u003e\u003c/bibref\u003e; 9. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eSanctus\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAbschied\u003c/title\u003e\u003c/bibref\u003e, (Farewell); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBienchen summ herum\u003c/title\u003e\u003c/bibref\u003e, (Bees); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDrei Röselein\u003c/title\u003e\u003c/bibref\u003e, (Three Rosebuds); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer holde Mai\u003c/title\u003e\u003c/bibref\u003e, (Maytime); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDas Vöglein\u003c/title\u003e\u003c/bibref\u003e, (The Messenger); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFrühlingsbotschaft\u003c/title\u003e\u003c/bibref\u003e, (Cuckoo); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGott weiss es\u003c/title\u003e\u003c/bibref\u003e, (God knows); 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer Gänsedieb\u003c/title\u003e\u003c/bibref\u003e, (The Lusty Robber)\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAm Abend\u003c/title\u003e\u003c/bibref\u003e, (At Evening); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eErster Kuss\u003c/title\u003e\u003c/bibref\u003e, (The First Kiss); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDeutung\u003c/title\u003e\u003c/bibref\u003e, (Reavealings); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGefunden\u003c/title\u003e\u003c/bibref\u003e, (Found); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMondnacht\u003c/title\u003e\u003c/bibref\u003e, (Moonlight); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eHochsommer\u003c/title\u003e\u003c/bibref\u003e, (Midsummer); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBusse\u003c/title\u003e\u003c/bibref\u003e, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFive Compositions for Voice and\n                        Piano\u003c/title\u003e\u003c/bibref\u003e)\u003c/p\u003e\n            "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)"],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["See the \n            \n            University of Virginia Library’s use policy."],"physloc_html_tesm":["\u003cphysloc\u003e\u003c/physloc\u003e\n      "],"corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"names_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"language_ssim":["English"],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:35:01.921Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu01897_c02_c06_c01"}},{"id":"viu_viu01897_c01_c02_c01","type":"Item","attributes":{"title":"Alderman, Edwin A., 1920","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu01897_c01_c02_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu01897_c01_c02_c01","ref_ssm":["viu_viu01897_c01_c02_c01"],"id":"viu_viu01897_c01_c02_c01","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897_c01_c02","parent_ssi":"viu_viu01897_c01_c02","parent_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group I: Correspondence","Name"],"parent_ids_ssim":["viu_viu01897","viu_viu01897_c01","viu_viu01897_c01_c02"],"title_filing_ssi":"Alderman, Edwin A.","title_ssm":["Alderman, Edwin A."],"title_tesim":["Alderman, Edwin A."],"normalized_title_ssm":["Alderman, Edwin A., 1920"],"text":["Alderman, Edwin A., 1920","Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group I: Correspondence","Name","Box Box 1"],"parent_unittitles_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group I: Correspondence","Name"],"parent_unittitles_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group I: Correspondence","Name"],"normalized_date_ssm":["1920"],"unitdate_other_ssim":["1920"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":5,"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"containers_ssim":["Box Box 1"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"date_range_isim":[1920],"_nest_path_":"/components#0/components#1/components#0","timestamp":"2026-06-23T07:35:01.921Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu01897","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897","ead_source_url_ssi":"data/uva-sc/viu01897.xml","title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"normalized_title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"text":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","12731","ca. 2000 items","Collection is open to research.","Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.","Funded in part by a grant from the National Endowment\n            for the Humanities","The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)","See the \n            \n            University of Virginia Library’s use policy.","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha","English"],"collection_title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["12731"],"unitid_tesim":["12731"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"creator_corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"creators_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"acqinfo_ssim":["The collection is a consolidation of gift acquisitions\n            received in the Manuscript and Special Collections\n            Departments of the University of Virginia over the period\n            1941-1997 from Edith Cruzan Fickénscher, Arditha\n            Fickénscher, William W. Jones, Robert Septimus\n            Pace, Jr., Gordon Rumson and anonymous donors.","The original classification numbers (listed below) of\n            all acquisitions to this collection have been consolidated\n            into a single classification number: 12731.","Previous Classification Numbers: Manuscript numbers:\n            1093; 5121,-a-b; 8815; Record Group numbers: RG-21/31.771\n            (.791) (.871) (.921) (.961) (.962) (.971)."],"has_online_content_ssim":["false"],"physdesc_tesim":["ca. 2000 items"],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"bioghist_html_tesm":["\u003cp\u003e\u003cpersname normal=\"Arthur Fickenscher\"\u003eArthur\n         Fickénscher\u003c/persname\u003e, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         \u003cemph render=\"italic\"\u003eHochschule der Musik\u003c/emph\u003eand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.\u003c/p\u003e\n      ","\u003cp\u003eIn 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         \u003cpersname\u003eEdith Cruzan\u003c/persname\u003e, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.\u003c/p\u003e\n      ","\u003cp\u003eIn 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         \u003cpersname normal=\"Arditha Fickenscher\"\u003eArditha\u003c/persname\u003e. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eand the orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAucassin and Nicolete\u003c/title\u003e\u003c/bibref\u003ewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.\u003c/p\u003e\n      ","\u003cp\u003eAt the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.\u003c/p\u003e\n      ","\u003cp\u003eA major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003ein Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         \u003ccorpname\u003eUniversity Glee Club\u003c/corpname\u003eand presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         \u003ccorpname\u003eAlbemarle Choral Club\u003c/corpname\u003e; conducted the\n         University of Virginia and the \n         \u003ccorpname\u003eNorfolk Symphony\u003c/corpname\u003eorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         \u003ccorpname\u003eMcIntire Concerts\u003c/corpname\u003eprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         \u003ccorpname\u003eChrist Episcopal Church\u003c/corpname\u003ein Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.\u003c/p\u003e\n      ","\u003cp\u003eIn 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Land East of the Sun\u003c/title\u003e\u003c/bibref\u003eand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Music Quarterly\u003c/title\u003e\u003c/bibref\u003e(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003ewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003ePiano Quintet\u003c/title\u003e\u003c/bibref\u003e.\u003c/p\u003e\n      ","\u003cp\u003eIn 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.\u003c/p\u003e\n      ","\u003cp\u003eAs a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Sketch"],"bioghist_tesim":["Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eArthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library\u003c/p\u003e\n      "],"prefercite_tesim":["Arthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library"],"processinfo_html_tesm":["\u003cp\u003eFunded in part by a grant from the National Endowment\n            for the Humanities\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Funding Note"],"processinfo_tesim":["Funded in part by a grant from the National Endowment\n            for the Humanities"],"scopecontent_html_tesm":["\u003cp\u003eThe Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:\u003c/p\u003e\n      ","\u003cp\u003eGroup I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.\u003c/p\u003e\n      ","\u003cp\u003eGroup II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         \u003ccorpname\u003eUniversity of Virginia's McIntire\n         Concerts\u003c/corpname\u003e(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.\u003c/p\u003e\n      ","\u003cp\u003eGroup III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eLife and Works of Arthur Fickénscher,\n            American Composer , 1871-1954\u003c/title\u003e\u003c/bibref\u003e, unpublished, 1992).\u003c/p\u003e\n      ","\u003cp\u003eA 33 1/3 rpm recording of \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eWillowwood\u003c/title\u003e\u003c/bibref\u003e, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.\u003c/p\u003e\n    ","\u003cp\u003e(manuscripts, master sheets and prints of musical\n               scores)\u003c/p\u003e\n        ","\u003cp\u003eContents: mixed chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAu clair de la lune\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBonhomme que savez-vous faire?\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eJ'ai du bon tabac\u003c/title\u003e\u003c/bibref\u003e; male chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eVive Henri Quartre\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eCharmante Gabrielle\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMalbrouk\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eKyrie Eleison\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Tibi\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Patri\u003c/title\u003e\u003c/bibref\u003e; 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBenedictus Qui Venit\u003c/title\u003e\u003c/bibref\u003e; 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAgnus Dei\u003c/title\u003e\u003c/bibref\u003e; 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria in Excelsis\u003c/title\u003e\u003c/bibref\u003e; 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAmen\u003c/title\u003e\u003c/bibref\u003e; 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eNunc Demitis\u003c/title\u003e\u003c/bibref\u003e; 9. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eSanctus\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAbschied\u003c/title\u003e\u003c/bibref\u003e, (Farewell); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBienchen summ herum\u003c/title\u003e\u003c/bibref\u003e, (Bees); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDrei Röselein\u003c/title\u003e\u003c/bibref\u003e, (Three Rosebuds); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer holde Mai\u003c/title\u003e\u003c/bibref\u003e, (Maytime); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDas Vöglein\u003c/title\u003e\u003c/bibref\u003e, (The Messenger); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFrühlingsbotschaft\u003c/title\u003e\u003c/bibref\u003e, (Cuckoo); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGott weiss es\u003c/title\u003e\u003c/bibref\u003e, (God knows); 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer Gänsedieb\u003c/title\u003e\u003c/bibref\u003e, (The Lusty Robber)\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAm Abend\u003c/title\u003e\u003c/bibref\u003e, (At Evening); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eErster Kuss\u003c/title\u003e\u003c/bibref\u003e, (The First Kiss); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDeutung\u003c/title\u003e\u003c/bibref\u003e, (Reavealings); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGefunden\u003c/title\u003e\u003c/bibref\u003e, (Found); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMondnacht\u003c/title\u003e\u003c/bibref\u003e, (Moonlight); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eHochsommer\u003c/title\u003e\u003c/bibref\u003e, (Midsummer); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBusse\u003c/title\u003e\u003c/bibref\u003e, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFive Compositions for Voice and\n                        Piano\u003c/title\u003e\u003c/bibref\u003e)\u003c/p\u003e\n            "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)"],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["See the \n            \n            University of Virginia Library’s use policy."],"physloc_html_tesm":["\u003cphysloc\u003e\u003c/physloc\u003e\n      "],"corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"names_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"language_ssim":["English"],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:35:01.921Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu01897_c01_c02_c01"}},{"id":"viu_viu01897_c01_c01_c01","type":"Item","attributes":{"title":"Box Box 1, 1911/1977","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu01897_c01_c01_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu01897_c01_c01_c01","ref_ssm":["viu_viu01897_c01_c01_c01"],"id":"viu_viu01897_c01_c01_c01","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897_c01_c01","parent_ssi":"viu_viu01897_c01_c01","parent_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group I: Correspondence","General"],"parent_ids_ssim":["viu_viu01897","viu_viu01897_c01","viu_viu01897_c01_c01"],"title_filing_ssi":"Box Box 1","title_ssm":["Box Box 1"],"title_tesim":["Box Box 1"],"normalized_title_ssm":["Box Box 1, 1911/1977"],"text":["Box Box 1, 1911/1977","Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group I: Correspondence","General","Box Box 1"],"parent_unittitles_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group I: Correspondence","General"],"parent_unittitles_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group I: Correspondence","General"],"normalized_date_ssm":["1911/1977"],"unitdate_other_ssim":["1911-1977, n.d."],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":3,"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"containers_ssim":["Box Box 1"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"date_range_isim":[1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977],"_nest_path_":"/components#0/components#0/components#0","timestamp":"2026-06-23T07:35:01.921Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu01897","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897","ead_source_url_ssi":"data/uva-sc/viu01897.xml","title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"normalized_title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"text":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","12731","ca. 2000 items","Collection is open to research.","Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.","Funded in part by a grant from the National Endowment\n            for the Humanities","The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)","See the \n            \n            University of Virginia Library’s use policy.","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha","English"],"collection_title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["12731"],"unitid_tesim":["12731"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"creator_corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"creators_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"acqinfo_ssim":["The collection is a consolidation of gift acquisitions\n            received in the Manuscript and Special Collections\n            Departments of the University of Virginia over the period\n            1941-1997 from Edith Cruzan Fickénscher, Arditha\n            Fickénscher, William W. Jones, Robert Septimus\n            Pace, Jr., Gordon Rumson and anonymous donors.","The original classification numbers (listed below) of\n            all acquisitions to this collection have been consolidated\n            into a single classification number: 12731.","Previous Classification Numbers: Manuscript numbers:\n            1093; 5121,-a-b; 8815; Record Group numbers: RG-21/31.771\n            (.791) (.871) (.921) (.961) (.962) (.971)."],"has_online_content_ssim":["false"],"physdesc_tesim":["ca. 2000 items"],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"bioghist_html_tesm":["\u003cp\u003e\u003cpersname normal=\"Arthur Fickenscher\"\u003eArthur\n         Fickénscher\u003c/persname\u003e, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         \u003cemph render=\"italic\"\u003eHochschule der Musik\u003c/emph\u003eand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.\u003c/p\u003e\n      ","\u003cp\u003eIn 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         \u003cpersname\u003eEdith Cruzan\u003c/persname\u003e, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.\u003c/p\u003e\n      ","\u003cp\u003eIn 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         \u003cpersname normal=\"Arditha Fickenscher\"\u003eArditha\u003c/persname\u003e. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eand the orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAucassin and Nicolete\u003c/title\u003e\u003c/bibref\u003ewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.\u003c/p\u003e\n      ","\u003cp\u003eAt the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.\u003c/p\u003e\n      ","\u003cp\u003eA major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003ein Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         \u003ccorpname\u003eUniversity Glee Club\u003c/corpname\u003eand presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         \u003ccorpname\u003eAlbemarle Choral Club\u003c/corpname\u003e; conducted the\n         University of Virginia and the \n         \u003ccorpname\u003eNorfolk Symphony\u003c/corpname\u003eorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         \u003ccorpname\u003eMcIntire Concerts\u003c/corpname\u003eprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         \u003ccorpname\u003eChrist Episcopal Church\u003c/corpname\u003ein Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.\u003c/p\u003e\n      ","\u003cp\u003eIn 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Land East of the Sun\u003c/title\u003e\u003c/bibref\u003eand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Music Quarterly\u003c/title\u003e\u003c/bibref\u003e(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003ewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003ePiano Quintet\u003c/title\u003e\u003c/bibref\u003e.\u003c/p\u003e\n      ","\u003cp\u003eIn 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.\u003c/p\u003e\n      ","\u003cp\u003eAs a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Sketch"],"bioghist_tesim":["Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eArthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library\u003c/p\u003e\n      "],"prefercite_tesim":["Arthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library"],"processinfo_html_tesm":["\u003cp\u003eFunded in part by a grant from the National Endowment\n            for the Humanities\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Funding Note"],"processinfo_tesim":["Funded in part by a grant from the National Endowment\n            for the Humanities"],"scopecontent_html_tesm":["\u003cp\u003eThe Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:\u003c/p\u003e\n      ","\u003cp\u003eGroup I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.\u003c/p\u003e\n      ","\u003cp\u003eGroup II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         \u003ccorpname\u003eUniversity of Virginia's McIntire\n         Concerts\u003c/corpname\u003e(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.\u003c/p\u003e\n      ","\u003cp\u003eGroup III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eLife and Works of Arthur Fickénscher,\n            American Composer , 1871-1954\u003c/title\u003e\u003c/bibref\u003e, unpublished, 1992).\u003c/p\u003e\n      ","\u003cp\u003eA 33 1/3 rpm recording of \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eWillowwood\u003c/title\u003e\u003c/bibref\u003e, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.\u003c/p\u003e\n    ","\u003cp\u003e(manuscripts, master sheets and prints of musical\n               scores)\u003c/p\u003e\n        ","\u003cp\u003eContents: mixed chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAu clair de la lune\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBonhomme que savez-vous faire?\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eJ'ai du bon tabac\u003c/title\u003e\u003c/bibref\u003e; male chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eVive Henri Quartre\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eCharmante Gabrielle\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMalbrouk\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eKyrie Eleison\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Tibi\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Patri\u003c/title\u003e\u003c/bibref\u003e; 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBenedictus Qui Venit\u003c/title\u003e\u003c/bibref\u003e; 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAgnus Dei\u003c/title\u003e\u003c/bibref\u003e; 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria in Excelsis\u003c/title\u003e\u003c/bibref\u003e; 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAmen\u003c/title\u003e\u003c/bibref\u003e; 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eNunc Demitis\u003c/title\u003e\u003c/bibref\u003e; 9. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eSanctus\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAbschied\u003c/title\u003e\u003c/bibref\u003e, (Farewell); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBienchen summ herum\u003c/title\u003e\u003c/bibref\u003e, (Bees); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDrei Röselein\u003c/title\u003e\u003c/bibref\u003e, (Three Rosebuds); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer holde Mai\u003c/title\u003e\u003c/bibref\u003e, (Maytime); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDas Vöglein\u003c/title\u003e\u003c/bibref\u003e, (The Messenger); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFrühlingsbotschaft\u003c/title\u003e\u003c/bibref\u003e, (Cuckoo); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGott weiss es\u003c/title\u003e\u003c/bibref\u003e, (God knows); 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer Gänsedieb\u003c/title\u003e\u003c/bibref\u003e, (The Lusty Robber)\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAm Abend\u003c/title\u003e\u003c/bibref\u003e, (At Evening); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eErster Kuss\u003c/title\u003e\u003c/bibref\u003e, (The First Kiss); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDeutung\u003c/title\u003e\u003c/bibref\u003e, (Reavealings); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGefunden\u003c/title\u003e\u003c/bibref\u003e, (Found); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMondnacht\u003c/title\u003e\u003c/bibref\u003e, (Moonlight); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eHochsommer\u003c/title\u003e\u003c/bibref\u003e, (Midsummer); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBusse\u003c/title\u003e\u003c/bibref\u003e, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFive Compositions for Voice and\n                        Piano\u003c/title\u003e\u003c/bibref\u003e)\u003c/p\u003e\n            "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)"],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["See the \n            \n            University of Virginia Library’s use policy."],"physloc_html_tesm":["\u003cphysloc\u003e\u003c/physloc\u003e\n      "],"corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"names_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"language_ssim":["English"],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:35:01.921Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu01897_c01_c01_c01"}},{"id":"viu_viu01897_c02_c04_c03","type":"Item","attributes":{"title":"Business records of McIntire Concerts,\n                     University of Virginia, 1919/1939","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu01897_c02_c04_c03#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu01897_c02_c04_c03","ref_ssm":["viu_viu01897_c02_c04_c03"],"id":"viu_viu01897_c02_c04_c03","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897_c02_c04","parent_ssi":"viu_viu01897_c02_c04","parent_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Miscellany"],"parent_ids_ssim":["viu_viu01897","viu_viu01897_c02","viu_viu01897_c02_c04"],"title_filing_ssi":"Business records of McIntire Concerts,\n                     University of Virginia","title_ssm":["Business records of McIntire Concerts,\n                     University of Virginia"],"title_tesim":["Business records of McIntire Concerts,\n                     University of Virginia"],"normalized_title_ssm":["Business records of McIntire Concerts,\n                     University of Virginia, 1919/1939"],"text":["Business records of McIntire Concerts,\n                     University of Virginia, 1919/1939","Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Miscellany","(4 folders)","Box Box 2"],"parent_unittitles_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Miscellany"],"parent_unittitles_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Miscellany"],"normalized_date_ssm":["1919/1939"],"unitdate_other_ssim":["1919-1939, n.d."],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":52,"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"physdesc_tesim":["(4 folders)"],"containers_ssim":["Box Box 2"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"date_range_isim":[1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939],"_nest_path_":"/components#1/components#3/components#2","timestamp":"2026-06-23T07:35:01.921Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu01897","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897","ead_source_url_ssi":"data/uva-sc/viu01897.xml","title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"normalized_title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"text":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","12731","ca. 2000 items","Collection is open to research.","Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.","Funded in part by a grant from the National Endowment\n            for the Humanities","The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)","See the \n            \n            University of Virginia Library’s use policy.","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha","English"],"collection_title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["12731"],"unitid_tesim":["12731"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"creator_corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"creators_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"acqinfo_ssim":["The collection is a consolidation of gift acquisitions\n            received in the Manuscript and Special Collections\n            Departments of the University of Virginia over the period\n            1941-1997 from Edith Cruzan Fickénscher, Arditha\n            Fickénscher, William W. Jones, Robert Septimus\n            Pace, Jr., Gordon Rumson and anonymous donors.","The original classification numbers (listed below) of\n            all acquisitions to this collection have been consolidated\n            into a single classification number: 12731.","Previous Classification Numbers: Manuscript numbers:\n            1093; 5121,-a-b; 8815; Record Group numbers: RG-21/31.771\n            (.791) (.871) (.921) (.961) (.962) (.971)."],"has_online_content_ssim":["false"],"physdesc_tesim":["ca. 2000 items"],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"bioghist_html_tesm":["\u003cp\u003e\u003cpersname normal=\"Arthur Fickenscher\"\u003eArthur\n         Fickénscher\u003c/persname\u003e, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         \u003cemph render=\"italic\"\u003eHochschule der Musik\u003c/emph\u003eand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.\u003c/p\u003e\n      ","\u003cp\u003eIn 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         \u003cpersname\u003eEdith Cruzan\u003c/persname\u003e, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.\u003c/p\u003e\n      ","\u003cp\u003eIn 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         \u003cpersname normal=\"Arditha Fickenscher\"\u003eArditha\u003c/persname\u003e. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eand the orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAucassin and Nicolete\u003c/title\u003e\u003c/bibref\u003ewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.\u003c/p\u003e\n      ","\u003cp\u003eAt the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.\u003c/p\u003e\n      ","\u003cp\u003eA major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003ein Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         \u003ccorpname\u003eUniversity Glee Club\u003c/corpname\u003eand presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         \u003ccorpname\u003eAlbemarle Choral Club\u003c/corpname\u003e; conducted the\n         University of Virginia and the \n         \u003ccorpname\u003eNorfolk Symphony\u003c/corpname\u003eorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         \u003ccorpname\u003eMcIntire Concerts\u003c/corpname\u003eprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         \u003ccorpname\u003eChrist Episcopal Church\u003c/corpname\u003ein Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.\u003c/p\u003e\n      ","\u003cp\u003eIn 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Land East of the Sun\u003c/title\u003e\u003c/bibref\u003eand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Music Quarterly\u003c/title\u003e\u003c/bibref\u003e(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003ewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003ePiano Quintet\u003c/title\u003e\u003c/bibref\u003e.\u003c/p\u003e\n      ","\u003cp\u003eIn 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.\u003c/p\u003e\n      ","\u003cp\u003eAs a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Sketch"],"bioghist_tesim":["Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eArthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library\u003c/p\u003e\n      "],"prefercite_tesim":["Arthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library"],"processinfo_html_tesm":["\u003cp\u003eFunded in part by a grant from the National Endowment\n            for the Humanities\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Funding Note"],"processinfo_tesim":["Funded in part by a grant from the National Endowment\n            for the Humanities"],"scopecontent_html_tesm":["\u003cp\u003eThe Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:\u003c/p\u003e\n      ","\u003cp\u003eGroup I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.\u003c/p\u003e\n      ","\u003cp\u003eGroup II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         \u003ccorpname\u003eUniversity of Virginia's McIntire\n         Concerts\u003c/corpname\u003e(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.\u003c/p\u003e\n      ","\u003cp\u003eGroup III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eLife and Works of Arthur Fickénscher,\n            American Composer , 1871-1954\u003c/title\u003e\u003c/bibref\u003e, unpublished, 1992).\u003c/p\u003e\n      ","\u003cp\u003eA 33 1/3 rpm recording of \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eWillowwood\u003c/title\u003e\u003c/bibref\u003e, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.\u003c/p\u003e\n    ","\u003cp\u003e(manuscripts, master sheets and prints of musical\n               scores)\u003c/p\u003e\n        ","\u003cp\u003eContents: mixed chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAu clair de la lune\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBonhomme que savez-vous faire?\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eJ'ai du bon tabac\u003c/title\u003e\u003c/bibref\u003e; male chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eVive Henri Quartre\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eCharmante Gabrielle\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMalbrouk\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eKyrie Eleison\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Tibi\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Patri\u003c/title\u003e\u003c/bibref\u003e; 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBenedictus Qui Venit\u003c/title\u003e\u003c/bibref\u003e; 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAgnus Dei\u003c/title\u003e\u003c/bibref\u003e; 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria in Excelsis\u003c/title\u003e\u003c/bibref\u003e; 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAmen\u003c/title\u003e\u003c/bibref\u003e; 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eNunc Demitis\u003c/title\u003e\u003c/bibref\u003e; 9. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eSanctus\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAbschied\u003c/title\u003e\u003c/bibref\u003e, (Farewell); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBienchen summ herum\u003c/title\u003e\u003c/bibref\u003e, (Bees); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDrei Röselein\u003c/title\u003e\u003c/bibref\u003e, (Three Rosebuds); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer holde Mai\u003c/title\u003e\u003c/bibref\u003e, (Maytime); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDas Vöglein\u003c/title\u003e\u003c/bibref\u003e, (The Messenger); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFrühlingsbotschaft\u003c/title\u003e\u003c/bibref\u003e, (Cuckoo); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGott weiss es\u003c/title\u003e\u003c/bibref\u003e, (God knows); 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer Gänsedieb\u003c/title\u003e\u003c/bibref\u003e, (The Lusty Robber)\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAm Abend\u003c/title\u003e\u003c/bibref\u003e, (At Evening); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eErster Kuss\u003c/title\u003e\u003c/bibref\u003e, (The First Kiss); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDeutung\u003c/title\u003e\u003c/bibref\u003e, (Reavealings); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGefunden\u003c/title\u003e\u003c/bibref\u003e, (Found); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMondnacht\u003c/title\u003e\u003c/bibref\u003e, (Moonlight); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eHochsommer\u003c/title\u003e\u003c/bibref\u003e, (Midsummer); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBusse\u003c/title\u003e\u003c/bibref\u003e, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFive Compositions for Voice and\n                        Piano\u003c/title\u003e\u003c/bibref\u003e)\u003c/p\u003e\n            "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)"],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["See the \n            \n            University of Virginia Library’s use policy."],"physloc_html_tesm":["\u003cphysloc\u003e\u003c/physloc\u003e\n      "],"corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"names_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"language_ssim":["English"],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:35:01.921Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu01897_c02_c04_c03"}},{"id":"viu_viu01897_c02_c01_c01","type":"Item","attributes":{"title":"By and about Arthur\n                     Fickénscher, 1901/1953","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu01897_c02_c01_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu01897_c02_c01_c01","ref_ssm":["viu_viu01897_c02_c01_c01"],"id":"viu_viu01897_c02_c01_c01","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897_c02_c01","parent_ssi":"viu_viu01897_c02_c01","parent_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Articles"],"parent_ids_ssim":["viu_viu01897","viu_viu01897_c02","viu_viu01897_c02_c01"],"title_filing_ssi":"By and about Arthur\n                     Fickénscher","title_ssm":["By and about Arthur\n                     Fickénscher"],"title_tesim":["By and about Arthur\n                     Fickénscher"],"normalized_title_ssm":["By and about Arthur\n                     Fickénscher, 1901/1953"],"text":["By and about Arthur\n                     Fickénscher, 1901/1953","Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Articles","Box Box 1"],"parent_unittitles_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Articles"],"parent_unittitles_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Articles"],"normalized_date_ssm":["1901/1953"],"unitdate_other_ssim":["1901-1953, n.d."],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":42,"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"containers_ssim":["Box Box 1"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953],"_nest_path_":"/components#1/components#0/components#0","timestamp":"2026-06-23T07:35:01.921Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu01897","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897","ead_source_url_ssi":"data/uva-sc/viu01897.xml","title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"normalized_title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"text":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","12731","ca. 2000 items","Collection is open to research.","Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.","Funded in part by a grant from the National Endowment\n            for the Humanities","The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)","See the \n            \n            University of Virginia Library’s use policy.","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha","English"],"collection_title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["12731"],"unitid_tesim":["12731"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"creator_corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"creators_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"acqinfo_ssim":["The collection is a consolidation of gift acquisitions\n            received in the Manuscript and Special Collections\n            Departments of the University of Virginia over the period\n            1941-1997 from Edith Cruzan Fickénscher, Arditha\n            Fickénscher, William W. Jones, Robert Septimus\n            Pace, Jr., Gordon Rumson and anonymous donors.","The original classification numbers (listed below) of\n            all acquisitions to this collection have been consolidated\n            into a single classification number: 12731.","Previous Classification Numbers: Manuscript numbers:\n            1093; 5121,-a-b; 8815; Record Group numbers: RG-21/31.771\n            (.791) (.871) (.921) (.961) (.962) (.971)."],"has_online_content_ssim":["false"],"physdesc_tesim":["ca. 2000 items"],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"bioghist_html_tesm":["\u003cp\u003e\u003cpersname normal=\"Arthur Fickenscher\"\u003eArthur\n         Fickénscher\u003c/persname\u003e, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         \u003cemph render=\"italic\"\u003eHochschule der Musik\u003c/emph\u003eand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.\u003c/p\u003e\n      ","\u003cp\u003eIn 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         \u003cpersname\u003eEdith Cruzan\u003c/persname\u003e, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.\u003c/p\u003e\n      ","\u003cp\u003eIn 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         \u003cpersname normal=\"Arditha Fickenscher\"\u003eArditha\u003c/persname\u003e. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eand the orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAucassin and Nicolete\u003c/title\u003e\u003c/bibref\u003ewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.\u003c/p\u003e\n      ","\u003cp\u003eAt the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.\u003c/p\u003e\n      ","\u003cp\u003eA major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003ein Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         \u003ccorpname\u003eUniversity Glee Club\u003c/corpname\u003eand presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         \u003ccorpname\u003eAlbemarle Choral Club\u003c/corpname\u003e; conducted the\n         University of Virginia and the \n         \u003ccorpname\u003eNorfolk Symphony\u003c/corpname\u003eorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         \u003ccorpname\u003eMcIntire Concerts\u003c/corpname\u003eprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         \u003ccorpname\u003eChrist Episcopal Church\u003c/corpname\u003ein Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.\u003c/p\u003e\n      ","\u003cp\u003eIn 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Land East of the Sun\u003c/title\u003e\u003c/bibref\u003eand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Music Quarterly\u003c/title\u003e\u003c/bibref\u003e(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003ewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003ePiano Quintet\u003c/title\u003e\u003c/bibref\u003e.\u003c/p\u003e\n      ","\u003cp\u003eIn 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.\u003c/p\u003e\n      ","\u003cp\u003eAs a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Sketch"],"bioghist_tesim":["Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eArthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library\u003c/p\u003e\n      "],"prefercite_tesim":["Arthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library"],"processinfo_html_tesm":["\u003cp\u003eFunded in part by a grant from the National Endowment\n            for the Humanities\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Funding Note"],"processinfo_tesim":["Funded in part by a grant from the National Endowment\n            for the Humanities"],"scopecontent_html_tesm":["\u003cp\u003eThe Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:\u003c/p\u003e\n      ","\u003cp\u003eGroup I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.\u003c/p\u003e\n      ","\u003cp\u003eGroup II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         \u003ccorpname\u003eUniversity of Virginia's McIntire\n         Concerts\u003c/corpname\u003e(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.\u003c/p\u003e\n      ","\u003cp\u003eGroup III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eLife and Works of Arthur Fickénscher,\n            American Composer , 1871-1954\u003c/title\u003e\u003c/bibref\u003e, unpublished, 1992).\u003c/p\u003e\n      ","\u003cp\u003eA 33 1/3 rpm recording of \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eWillowwood\u003c/title\u003e\u003c/bibref\u003e, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.\u003c/p\u003e\n    ","\u003cp\u003e(manuscripts, master sheets and prints of musical\n               scores)\u003c/p\u003e\n        ","\u003cp\u003eContents: mixed chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAu clair de la lune\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBonhomme que savez-vous faire?\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eJ'ai du bon tabac\u003c/title\u003e\u003c/bibref\u003e; male chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eVive Henri Quartre\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eCharmante Gabrielle\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMalbrouk\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eKyrie Eleison\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Tibi\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Patri\u003c/title\u003e\u003c/bibref\u003e; 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBenedictus Qui Venit\u003c/title\u003e\u003c/bibref\u003e; 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAgnus Dei\u003c/title\u003e\u003c/bibref\u003e; 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria in Excelsis\u003c/title\u003e\u003c/bibref\u003e; 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAmen\u003c/title\u003e\u003c/bibref\u003e; 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eNunc Demitis\u003c/title\u003e\u003c/bibref\u003e; 9. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eSanctus\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAbschied\u003c/title\u003e\u003c/bibref\u003e, (Farewell); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBienchen summ herum\u003c/title\u003e\u003c/bibref\u003e, (Bees); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDrei Röselein\u003c/title\u003e\u003c/bibref\u003e, (Three Rosebuds); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer holde Mai\u003c/title\u003e\u003c/bibref\u003e, (Maytime); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDas Vöglein\u003c/title\u003e\u003c/bibref\u003e, (The Messenger); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFrühlingsbotschaft\u003c/title\u003e\u003c/bibref\u003e, (Cuckoo); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGott weiss es\u003c/title\u003e\u003c/bibref\u003e, (God knows); 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer Gänsedieb\u003c/title\u003e\u003c/bibref\u003e, (The Lusty Robber)\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAm Abend\u003c/title\u003e\u003c/bibref\u003e, (At Evening); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eErster Kuss\u003c/title\u003e\u003c/bibref\u003e, (The First Kiss); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDeutung\u003c/title\u003e\u003c/bibref\u003e, (Reavealings); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGefunden\u003c/title\u003e\u003c/bibref\u003e, (Found); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMondnacht\u003c/title\u003e\u003c/bibref\u003e, (Moonlight); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eHochsommer\u003c/title\u003e\u003c/bibref\u003e, (Midsummer); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBusse\u003c/title\u003e\u003c/bibref\u003e, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFive Compositions for Voice and\n                        Piano\u003c/title\u003e\u003c/bibref\u003e)\u003c/p\u003e\n            "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)"],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["See the \n            \n            University of Virginia Library’s use policy."],"physloc_html_tesm":["\u003cphysloc\u003e\u003c/physloc\u003e\n      "],"corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"names_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"language_ssim":["English"],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:35:01.921Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu01897_c02_c01_c01"}},{"id":"viu_viu01897_c02_c07_c01","type":"Item","attributes":{"title":"Development notes and patent\n                     designs, 1912/1941","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu01897_c02_c07_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu01897_c02_c07_c01","ref_ssm":["viu_viu01897_c02_c07_c01"],"id":"viu_viu01897_c02_c07_c01","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897_c02_c07","parent_ssi":"viu_viu01897_c02_c07","parent_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","\"Polytone\" Invention"],"parent_ids_ssim":["viu_viu01897","viu_viu01897_c02","viu_viu01897_c02_c07"],"title_filing_ssi":"Development notes and patent\n                     designs","title_ssm":["Development notes and patent\n                     designs"],"title_tesim":["Development notes and patent\n                     designs"],"normalized_title_ssm":["Development notes and patent\n                     designs, 1912/1941"],"text":["Development notes and patent\n                     designs, 1912/1941","Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","\"Polytone\" Invention","(2 folders)","Box Box 3"],"parent_unittitles_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","\"Polytone\" Invention"],"parent_unittitles_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","\"Polytone\" Invention"],"normalized_date_ssm":["1912/1941"],"unitdate_other_ssim":["ca. 1912-1941, n.d."],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":61,"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"physdesc_tesim":["(2 folders)"],"containers_ssim":["Box Box 3"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"date_range_isim":[1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941],"_nest_path_":"/components#1/components#6/components#0","timestamp":"2026-06-23T07:35:01.921Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu01897","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897","ead_source_url_ssi":"data/uva-sc/viu01897.xml","title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"normalized_title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"text":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","12731","ca. 2000 items","Collection is open to research.","Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.","Funded in part by a grant from the National Endowment\n            for the Humanities","The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)","See the \n            \n            University of Virginia Library’s use policy.","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha","English"],"collection_title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["12731"],"unitid_tesim":["12731"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"creator_corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"creators_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"acqinfo_ssim":["The collection is a consolidation of gift acquisitions\n            received in the Manuscript and Special Collections\n            Departments of the University of Virginia over the period\n            1941-1997 from Edith Cruzan Fickénscher, Arditha\n            Fickénscher, William W. Jones, Robert Septimus\n            Pace, Jr., Gordon Rumson and anonymous donors.","The original classification numbers (listed below) of\n            all acquisitions to this collection have been consolidated\n            into a single classification number: 12731.","Previous Classification Numbers: Manuscript numbers:\n            1093; 5121,-a-b; 8815; Record Group numbers: RG-21/31.771\n            (.791) (.871) (.921) (.961) (.962) (.971)."],"has_online_content_ssim":["false"],"physdesc_tesim":["ca. 2000 items"],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"bioghist_html_tesm":["\u003cp\u003e\u003cpersname normal=\"Arthur Fickenscher\"\u003eArthur\n         Fickénscher\u003c/persname\u003e, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         \u003cemph render=\"italic\"\u003eHochschule der Musik\u003c/emph\u003eand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.\u003c/p\u003e\n      ","\u003cp\u003eIn 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         \u003cpersname\u003eEdith Cruzan\u003c/persname\u003e, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.\u003c/p\u003e\n      ","\u003cp\u003eIn 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         \u003cpersname normal=\"Arditha Fickenscher\"\u003eArditha\u003c/persname\u003e. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eand the orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAucassin and Nicolete\u003c/title\u003e\u003c/bibref\u003ewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.\u003c/p\u003e\n      ","\u003cp\u003eAt the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.\u003c/p\u003e\n      ","\u003cp\u003eA major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003ein Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         \u003ccorpname\u003eUniversity Glee Club\u003c/corpname\u003eand presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         \u003ccorpname\u003eAlbemarle Choral Club\u003c/corpname\u003e; conducted the\n         University of Virginia and the \n         \u003ccorpname\u003eNorfolk Symphony\u003c/corpname\u003eorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         \u003ccorpname\u003eMcIntire Concerts\u003c/corpname\u003eprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         \u003ccorpname\u003eChrist Episcopal Church\u003c/corpname\u003ein Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.\u003c/p\u003e\n      ","\u003cp\u003eIn 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Land East of the Sun\u003c/title\u003e\u003c/bibref\u003eand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Music Quarterly\u003c/title\u003e\u003c/bibref\u003e(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003ewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003ePiano Quintet\u003c/title\u003e\u003c/bibref\u003e.\u003c/p\u003e\n      ","\u003cp\u003eIn 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.\u003c/p\u003e\n      ","\u003cp\u003eAs a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Sketch"],"bioghist_tesim":["Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eArthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library\u003c/p\u003e\n      "],"prefercite_tesim":["Arthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library"],"processinfo_html_tesm":["\u003cp\u003eFunded in part by a grant from the National Endowment\n            for the Humanities\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Funding Note"],"processinfo_tesim":["Funded in part by a grant from the National Endowment\n            for the Humanities"],"scopecontent_html_tesm":["\u003cp\u003eThe Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:\u003c/p\u003e\n      ","\u003cp\u003eGroup I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.\u003c/p\u003e\n      ","\u003cp\u003eGroup II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         \u003ccorpname\u003eUniversity of Virginia's McIntire\n         Concerts\u003c/corpname\u003e(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.\u003c/p\u003e\n      ","\u003cp\u003eGroup III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eLife and Works of Arthur Fickénscher,\n            American Composer , 1871-1954\u003c/title\u003e\u003c/bibref\u003e, unpublished, 1992).\u003c/p\u003e\n      ","\u003cp\u003eA 33 1/3 rpm recording of \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eWillowwood\u003c/title\u003e\u003c/bibref\u003e, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.\u003c/p\u003e\n    ","\u003cp\u003e(manuscripts, master sheets and prints of musical\n               scores)\u003c/p\u003e\n        ","\u003cp\u003eContents: mixed chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAu clair de la lune\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBonhomme que savez-vous faire?\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eJ'ai du bon tabac\u003c/title\u003e\u003c/bibref\u003e; male chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eVive Henri Quartre\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eCharmante Gabrielle\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMalbrouk\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eKyrie Eleison\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Tibi\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Patri\u003c/title\u003e\u003c/bibref\u003e; 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBenedictus Qui Venit\u003c/title\u003e\u003c/bibref\u003e; 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAgnus Dei\u003c/title\u003e\u003c/bibref\u003e; 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria in Excelsis\u003c/title\u003e\u003c/bibref\u003e; 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAmen\u003c/title\u003e\u003c/bibref\u003e; 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eNunc Demitis\u003c/title\u003e\u003c/bibref\u003e; 9. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eSanctus\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAbschied\u003c/title\u003e\u003c/bibref\u003e, (Farewell); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBienchen summ herum\u003c/title\u003e\u003c/bibref\u003e, (Bees); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDrei Röselein\u003c/title\u003e\u003c/bibref\u003e, (Three Rosebuds); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer holde Mai\u003c/title\u003e\u003c/bibref\u003e, (Maytime); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDas Vöglein\u003c/title\u003e\u003c/bibref\u003e, (The Messenger); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFrühlingsbotschaft\u003c/title\u003e\u003c/bibref\u003e, (Cuckoo); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGott weiss es\u003c/title\u003e\u003c/bibref\u003e, (God knows); 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer Gänsedieb\u003c/title\u003e\u003c/bibref\u003e, (The Lusty Robber)\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAm Abend\u003c/title\u003e\u003c/bibref\u003e, (At Evening); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eErster Kuss\u003c/title\u003e\u003c/bibref\u003e, (The First Kiss); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDeutung\u003c/title\u003e\u003c/bibref\u003e, (Reavealings); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGefunden\u003c/title\u003e\u003c/bibref\u003e, (Found); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMondnacht\u003c/title\u003e\u003c/bibref\u003e, (Moonlight); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eHochsommer\u003c/title\u003e\u003c/bibref\u003e, (Midsummer); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBusse\u003c/title\u003e\u003c/bibref\u003e, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFive Compositions for Voice and\n                        Piano\u003c/title\u003e\u003c/bibref\u003e)\u003c/p\u003e\n            "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)"],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["See the \n            \n            University of Virginia Library’s use policy."],"physloc_html_tesm":["\u003cphysloc\u003e\u003c/physloc\u003e\n      "],"corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"names_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"language_ssim":["English"],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:35:01.921Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu01897_c02_c07_c01"}},{"id":"viu_viu01897_c02_c04_c04","type":"Item","attributes":{"title":"Family memorabilia, 1908/1990","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu01897_c02_c04_c04#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu01897_c02_c04_c04","ref_ssm":["viu_viu01897_c02_c04_c04"],"id":"viu_viu01897_c02_c04_c04","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897_c02_c04","parent_ssi":"viu_viu01897_c02_c04","parent_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Miscellany"],"parent_ids_ssim":["viu_viu01897","viu_viu01897_c02","viu_viu01897_c02_c04"],"title_filing_ssi":"Family memorabilia","title_ssm":["Family memorabilia"],"title_tesim":["Family memorabilia"],"normalized_title_ssm":["Family memorabilia, 1908/1990"],"text":["Family memorabilia, 1908/1990","Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Miscellany","Box Box 2"],"parent_unittitles_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Miscellany"],"parent_unittitles_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Miscellany"],"normalized_date_ssm":["1908/1990"],"unitdate_other_ssim":["1908-1990, n.d."],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":53,"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"containers_ssim":["Box Box 2"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"date_range_isim":[1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990],"_nest_path_":"/components#1/components#3/components#3","timestamp":"2026-06-23T07:35:01.921Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu01897","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897","ead_source_url_ssi":"data/uva-sc/viu01897.xml","title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"normalized_title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"text":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","12731","ca. 2000 items","Collection is open to research.","Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.","Funded in part by a grant from the National Endowment\n            for the Humanities","The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)","See the \n            \n            University of Virginia Library’s use policy.","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha","English"],"collection_title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["12731"],"unitid_tesim":["12731"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"creator_corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"creators_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"acqinfo_ssim":["The collection is a consolidation of gift acquisitions\n            received in the Manuscript and Special Collections\n            Departments of the University of Virginia over the period\n            1941-1997 from Edith Cruzan Fickénscher, Arditha\n            Fickénscher, William W. Jones, Robert Septimus\n            Pace, Jr., Gordon Rumson and anonymous donors.","The original classification numbers (listed below) of\n            all acquisitions to this collection have been consolidated\n            into a single classification number: 12731.","Previous Classification Numbers: Manuscript numbers:\n            1093; 5121,-a-b; 8815; Record Group numbers: RG-21/31.771\n            (.791) (.871) (.921) (.961) (.962) (.971)."],"has_online_content_ssim":["false"],"physdesc_tesim":["ca. 2000 items"],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"bioghist_html_tesm":["\u003cp\u003e\u003cpersname normal=\"Arthur Fickenscher\"\u003eArthur\n         Fickénscher\u003c/persname\u003e, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         \u003cemph render=\"italic\"\u003eHochschule der Musik\u003c/emph\u003eand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.\u003c/p\u003e\n      ","\u003cp\u003eIn 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         \u003cpersname\u003eEdith Cruzan\u003c/persname\u003e, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.\u003c/p\u003e\n      ","\u003cp\u003eIn 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         \u003cpersname normal=\"Arditha Fickenscher\"\u003eArditha\u003c/persname\u003e. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eand the orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAucassin and Nicolete\u003c/title\u003e\u003c/bibref\u003ewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.\u003c/p\u003e\n      ","\u003cp\u003eAt the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.\u003c/p\u003e\n      ","\u003cp\u003eA major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003ein Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         \u003ccorpname\u003eUniversity Glee Club\u003c/corpname\u003eand presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         \u003ccorpname\u003eAlbemarle Choral Club\u003c/corpname\u003e; conducted the\n         University of Virginia and the \n         \u003ccorpname\u003eNorfolk Symphony\u003c/corpname\u003eorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         \u003ccorpname\u003eMcIntire Concerts\u003c/corpname\u003eprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         \u003ccorpname\u003eChrist Episcopal Church\u003c/corpname\u003ein Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.\u003c/p\u003e\n      ","\u003cp\u003eIn 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Land East of the Sun\u003c/title\u003e\u003c/bibref\u003eand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Music Quarterly\u003c/title\u003e\u003c/bibref\u003e(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003ewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003ePiano Quintet\u003c/title\u003e\u003c/bibref\u003e.\u003c/p\u003e\n      ","\u003cp\u003eIn 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.\u003c/p\u003e\n      ","\u003cp\u003eAs a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Sketch"],"bioghist_tesim":["Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eArthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library\u003c/p\u003e\n      "],"prefercite_tesim":["Arthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library"],"processinfo_html_tesm":["\u003cp\u003eFunded in part by a grant from the National Endowment\n            for the Humanities\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Funding Note"],"processinfo_tesim":["Funded in part by a grant from the National Endowment\n            for the Humanities"],"scopecontent_html_tesm":["\u003cp\u003eThe Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:\u003c/p\u003e\n      ","\u003cp\u003eGroup I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.\u003c/p\u003e\n      ","\u003cp\u003eGroup II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         \u003ccorpname\u003eUniversity of Virginia's McIntire\n         Concerts\u003c/corpname\u003e(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.\u003c/p\u003e\n      ","\u003cp\u003eGroup III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eLife and Works of Arthur Fickénscher,\n            American Composer , 1871-1954\u003c/title\u003e\u003c/bibref\u003e, unpublished, 1992).\u003c/p\u003e\n      ","\u003cp\u003eA 33 1/3 rpm recording of \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eWillowwood\u003c/title\u003e\u003c/bibref\u003e, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.\u003c/p\u003e\n    ","\u003cp\u003e(manuscripts, master sheets and prints of musical\n               scores)\u003c/p\u003e\n        ","\u003cp\u003eContents: mixed chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAu clair de la lune\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBonhomme que savez-vous faire?\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eJ'ai du bon tabac\u003c/title\u003e\u003c/bibref\u003e; male chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eVive Henri Quartre\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eCharmante Gabrielle\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMalbrouk\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eKyrie Eleison\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Tibi\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Patri\u003c/title\u003e\u003c/bibref\u003e; 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBenedictus Qui Venit\u003c/title\u003e\u003c/bibref\u003e; 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAgnus Dei\u003c/title\u003e\u003c/bibref\u003e; 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria in Excelsis\u003c/title\u003e\u003c/bibref\u003e; 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAmen\u003c/title\u003e\u003c/bibref\u003e; 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eNunc Demitis\u003c/title\u003e\u003c/bibref\u003e; 9. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eSanctus\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAbschied\u003c/title\u003e\u003c/bibref\u003e, (Farewell); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBienchen summ herum\u003c/title\u003e\u003c/bibref\u003e, (Bees); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDrei Röselein\u003c/title\u003e\u003c/bibref\u003e, (Three Rosebuds); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer holde Mai\u003c/title\u003e\u003c/bibref\u003e, (Maytime); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDas Vöglein\u003c/title\u003e\u003c/bibref\u003e, (The Messenger); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFrühlingsbotschaft\u003c/title\u003e\u003c/bibref\u003e, (Cuckoo); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGott weiss es\u003c/title\u003e\u003c/bibref\u003e, (God knows); 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer Gänsedieb\u003c/title\u003e\u003c/bibref\u003e, (The Lusty Robber)\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAm Abend\u003c/title\u003e\u003c/bibref\u003e, (At Evening); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eErster Kuss\u003c/title\u003e\u003c/bibref\u003e, (The First Kiss); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDeutung\u003c/title\u003e\u003c/bibref\u003e, (Reavealings); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGefunden\u003c/title\u003e\u003c/bibref\u003e, (Found); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMondnacht\u003c/title\u003e\u003c/bibref\u003e, (Moonlight); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eHochsommer\u003c/title\u003e\u003c/bibref\u003e, (Midsummer); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBusse\u003c/title\u003e\u003c/bibref\u003e, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFive Compositions for Voice and\n                        Piano\u003c/title\u003e\u003c/bibref\u003e)\u003c/p\u003e\n            "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)"],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["See the \n            \n            University of Virginia Library’s use policy."],"physloc_html_tesm":["\u003cphysloc\u003e\u003c/physloc\u003e\n      "],"corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"names_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"language_ssim":["English"],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:35:01.921Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu01897_c02_c04_c04"}},{"id":"viu_viu01897_c01_c02_c04","type":"Item","attributes":{"title":"Fickénscher, Edith\n                     Cruzan, 1904/1941","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu01897_c01_c02_c04#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu01897_c01_c02_c04","ref_ssm":["viu_viu01897_c01_c02_c04"],"id":"viu_viu01897_c01_c02_c04","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897_c01_c02","parent_ssi":"viu_viu01897_c01_c02","parent_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group I: Correspondence","Name"],"parent_ids_ssim":["viu_viu01897","viu_viu01897_c01","viu_viu01897_c01_c02"],"title_filing_ssi":"Fickénscher, Edith\n                     Cruzan","title_ssm":["Fickénscher, Edith\n                     Cruzan"],"title_tesim":["Fickénscher, Edith\n                     Cruzan"],"normalized_title_ssm":["Fickénscher, Edith\n                     Cruzan, 1904/1941"],"text":["Fickénscher, Edith\n                     Cruzan, 1904/1941","Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group I: Correspondence","Name","Box Box 1"],"parent_unittitles_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group I: Correspondence","Name"],"parent_unittitles_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group I: Correspondence","Name"],"normalized_date_ssm":["1904/1941"],"unitdate_other_ssim":["1904-1941, n.d."],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":8,"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"containers_ssim":["Box Box 1"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"date_range_isim":[1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941],"_nest_path_":"/components#0/components#1/components#3","timestamp":"2026-06-23T07:35:01.921Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu01897","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897","ead_source_url_ssi":"data/uva-sc/viu01897.xml","title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"normalized_title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"text":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","12731","ca. 2000 items","Collection is open to research.","Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.","Funded in part by a grant from the National Endowment\n            for the Humanities","The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)","See the \n            \n            University of Virginia Library’s use policy.","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha","English"],"collection_title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["12731"],"unitid_tesim":["12731"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"creator_corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"creators_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"acqinfo_ssim":["The collection is a consolidation of gift acquisitions\n            received in the Manuscript and Special Collections\n            Departments of the University of Virginia over the period\n            1941-1997 from Edith Cruzan Fickénscher, Arditha\n            Fickénscher, William W. Jones, Robert Septimus\n            Pace, Jr., Gordon Rumson and anonymous donors.","The original classification numbers (listed below) of\n            all acquisitions to this collection have been consolidated\n            into a single classification number: 12731.","Previous Classification Numbers: Manuscript numbers:\n            1093; 5121,-a-b; 8815; Record Group numbers: RG-21/31.771\n            (.791) (.871) (.921) (.961) (.962) (.971)."],"has_online_content_ssim":["false"],"physdesc_tesim":["ca. 2000 items"],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"bioghist_html_tesm":["\u003cp\u003e\u003cpersname normal=\"Arthur Fickenscher\"\u003eArthur\n         Fickénscher\u003c/persname\u003e, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         \u003cemph render=\"italic\"\u003eHochschule der Musik\u003c/emph\u003eand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.\u003c/p\u003e\n      ","\u003cp\u003eIn 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         \u003cpersname\u003eEdith Cruzan\u003c/persname\u003e, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.\u003c/p\u003e\n      ","\u003cp\u003eIn 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         \u003cpersname normal=\"Arditha Fickenscher\"\u003eArditha\u003c/persname\u003e. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eand the orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAucassin and Nicolete\u003c/title\u003e\u003c/bibref\u003ewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.\u003c/p\u003e\n      ","\u003cp\u003eAt the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.\u003c/p\u003e\n      ","\u003cp\u003eA major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003ein Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         \u003ccorpname\u003eUniversity Glee Club\u003c/corpname\u003eand presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         \u003ccorpname\u003eAlbemarle Choral Club\u003c/corpname\u003e; conducted the\n         University of Virginia and the \n         \u003ccorpname\u003eNorfolk Symphony\u003c/corpname\u003eorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         \u003ccorpname\u003eMcIntire Concerts\u003c/corpname\u003eprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         \u003ccorpname\u003eChrist Episcopal Church\u003c/corpname\u003ein Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.\u003c/p\u003e\n      ","\u003cp\u003eIn 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Land East of the Sun\u003c/title\u003e\u003c/bibref\u003eand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Music Quarterly\u003c/title\u003e\u003c/bibref\u003e(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003ewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003ePiano Quintet\u003c/title\u003e\u003c/bibref\u003e.\u003c/p\u003e\n      ","\u003cp\u003eIn 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.\u003c/p\u003e\n      ","\u003cp\u003eAs a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Sketch"],"bioghist_tesim":["Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eArthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library\u003c/p\u003e\n      "],"prefercite_tesim":["Arthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library"],"processinfo_html_tesm":["\u003cp\u003eFunded in part by a grant from the National Endowment\n            for the Humanities\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Funding Note"],"processinfo_tesim":["Funded in part by a grant from the National Endowment\n            for the Humanities"],"scopecontent_html_tesm":["\u003cp\u003eThe Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:\u003c/p\u003e\n      ","\u003cp\u003eGroup I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.\u003c/p\u003e\n      ","\u003cp\u003eGroup II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         \u003ccorpname\u003eUniversity of Virginia's McIntire\n         Concerts\u003c/corpname\u003e(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.\u003c/p\u003e\n      ","\u003cp\u003eGroup III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eLife and Works of Arthur Fickénscher,\n            American Composer , 1871-1954\u003c/title\u003e\u003c/bibref\u003e, unpublished, 1992).\u003c/p\u003e\n      ","\u003cp\u003eA 33 1/3 rpm recording of \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eWillowwood\u003c/title\u003e\u003c/bibref\u003e, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.\u003c/p\u003e\n    ","\u003cp\u003e(manuscripts, master sheets and prints of musical\n               scores)\u003c/p\u003e\n        ","\u003cp\u003eContents: mixed chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAu clair de la lune\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBonhomme que savez-vous faire?\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eJ'ai du bon tabac\u003c/title\u003e\u003c/bibref\u003e; male chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eVive Henri Quartre\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eCharmante Gabrielle\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMalbrouk\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eKyrie Eleison\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Tibi\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Patri\u003c/title\u003e\u003c/bibref\u003e; 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBenedictus Qui Venit\u003c/title\u003e\u003c/bibref\u003e; 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAgnus Dei\u003c/title\u003e\u003c/bibref\u003e; 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria in Excelsis\u003c/title\u003e\u003c/bibref\u003e; 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAmen\u003c/title\u003e\u003c/bibref\u003e; 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eNunc Demitis\u003c/title\u003e\u003c/bibref\u003e; 9. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eSanctus\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAbschied\u003c/title\u003e\u003c/bibref\u003e, (Farewell); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBienchen summ herum\u003c/title\u003e\u003c/bibref\u003e, (Bees); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDrei Röselein\u003c/title\u003e\u003c/bibref\u003e, (Three Rosebuds); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer holde Mai\u003c/title\u003e\u003c/bibref\u003e, (Maytime); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDas Vöglein\u003c/title\u003e\u003c/bibref\u003e, (The Messenger); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFrühlingsbotschaft\u003c/title\u003e\u003c/bibref\u003e, (Cuckoo); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGott weiss es\u003c/title\u003e\u003c/bibref\u003e, (God knows); 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer Gänsedieb\u003c/title\u003e\u003c/bibref\u003e, (The Lusty Robber)\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAm Abend\u003c/title\u003e\u003c/bibref\u003e, (At Evening); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eErster Kuss\u003c/title\u003e\u003c/bibref\u003e, (The First Kiss); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDeutung\u003c/title\u003e\u003c/bibref\u003e, (Reavealings); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGefunden\u003c/title\u003e\u003c/bibref\u003e, (Found); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMondnacht\u003c/title\u003e\u003c/bibref\u003e, (Moonlight); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eHochsommer\u003c/title\u003e\u003c/bibref\u003e, (Midsummer); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBusse\u003c/title\u003e\u003c/bibref\u003e, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFive Compositions for Voice and\n                        Piano\u003c/title\u003e\u003c/bibref\u003e)\u003c/p\u003e\n            "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)"],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["See the \n            \n            University of Virginia Library’s use policy."],"physloc_html_tesm":["\u003cphysloc\u003e\u003c/physloc\u003e\n      "],"corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"names_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"language_ssim":["English"],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:35:01.921Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu01897_c01_c02_c04"}},{"id":"viu_viu01897_c02_c03_c01","type":"Item","attributes":{"title":"Memorabilia, 1895/1991","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu01897_c02_c03_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu01897_c02_c03_c01","ref_ssm":["viu_viu01897_c02_c03_c01"],"id":"viu_viu01897_c02_c03_c01","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897_c02_c03","parent_ssi":"viu_viu01897_c02_c03","parent_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Concert Performances (Arthur / Edith\n                  Cruzan Fickénscher, and\n                  others)"],"parent_ids_ssim":["viu_viu01897","viu_viu01897_c02","viu_viu01897_c02_c03"],"title_filing_ssi":"Memorabilia","title_ssm":["Memorabilia"],"title_tesim":["Memorabilia"],"normalized_title_ssm":["Memorabilia, 1895/1991"],"text":["Memorabilia, 1895/1991","Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Concert Performances (Arthur / Edith\n                  Cruzan Fickénscher, and\n                  others)","(5 folders)","Box Box 2"],"parent_unittitles_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Concert Performances (Arthur / Edith\n                  Cruzan Fickénscher, and\n                  others)"],"parent_unittitles_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","Concert Performances (Arthur / Edith\n                  Cruzan Fickénscher, and\n                  others)"],"normalized_date_ssm":["1895/1991"],"unitdate_other_ssim":["1895-1991, n.d."],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":48,"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"physdesc_tesim":["(5 folders)"],"containers_ssim":["Box Box 2"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"date_range_isim":[1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991],"_nest_path_":"/components#1/components#2/components#0","timestamp":"2026-06-23T07:35:01.921Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu01897","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897","ead_source_url_ssi":"data/uva-sc/viu01897.xml","title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"normalized_title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"text":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","12731","ca. 2000 items","Collection is open to research.","Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.","Funded in part by a grant from the National Endowment\n            for the Humanities","The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)","See the \n            \n            University of Virginia Library’s use policy.","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha","English"],"collection_title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["12731"],"unitid_tesim":["12731"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"creator_corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"creators_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"acqinfo_ssim":["The collection is a consolidation of gift acquisitions\n            received in the Manuscript and Special Collections\n            Departments of the University of Virginia over the period\n            1941-1997 from Edith Cruzan Fickénscher, Arditha\n            Fickénscher, William W. Jones, Robert Septimus\n            Pace, Jr., Gordon Rumson and anonymous donors.","The original classification numbers (listed below) of\n            all acquisitions to this collection have been consolidated\n            into a single classification number: 12731.","Previous Classification Numbers: Manuscript numbers:\n            1093; 5121,-a-b; 8815; Record Group numbers: RG-21/31.771\n            (.791) (.871) (.921) (.961) (.962) (.971)."],"has_online_content_ssim":["false"],"physdesc_tesim":["ca. 2000 items"],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"bioghist_html_tesm":["\u003cp\u003e\u003cpersname normal=\"Arthur Fickenscher\"\u003eArthur\n         Fickénscher\u003c/persname\u003e, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         \u003cemph render=\"italic\"\u003eHochschule der Musik\u003c/emph\u003eand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.\u003c/p\u003e\n      ","\u003cp\u003eIn 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         \u003cpersname\u003eEdith Cruzan\u003c/persname\u003e, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.\u003c/p\u003e\n      ","\u003cp\u003eIn 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         \u003cpersname normal=\"Arditha Fickenscher\"\u003eArditha\u003c/persname\u003e. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eand the orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAucassin and Nicolete\u003c/title\u003e\u003c/bibref\u003ewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.\u003c/p\u003e\n      ","\u003cp\u003eAt the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.\u003c/p\u003e\n      ","\u003cp\u003eA major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003ein Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         \u003ccorpname\u003eUniversity Glee Club\u003c/corpname\u003eand presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         \u003ccorpname\u003eAlbemarle Choral Club\u003c/corpname\u003e; conducted the\n         University of Virginia and the \n         \u003ccorpname\u003eNorfolk Symphony\u003c/corpname\u003eorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         \u003ccorpname\u003eMcIntire Concerts\u003c/corpname\u003eprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         \u003ccorpname\u003eChrist Episcopal Church\u003c/corpname\u003ein Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.\u003c/p\u003e\n      ","\u003cp\u003eIn 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Land East of the Sun\u003c/title\u003e\u003c/bibref\u003eand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Music Quarterly\u003c/title\u003e\u003c/bibref\u003e(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003ewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003ePiano Quintet\u003c/title\u003e\u003c/bibref\u003e.\u003c/p\u003e\n      ","\u003cp\u003eIn 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.\u003c/p\u003e\n      ","\u003cp\u003eAs a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Sketch"],"bioghist_tesim":["Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eArthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library\u003c/p\u003e\n      "],"prefercite_tesim":["Arthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library"],"processinfo_html_tesm":["\u003cp\u003eFunded in part by a grant from the National Endowment\n            for the Humanities\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Funding Note"],"processinfo_tesim":["Funded in part by a grant from the National Endowment\n            for the Humanities"],"scopecontent_html_tesm":["\u003cp\u003eThe Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:\u003c/p\u003e\n      ","\u003cp\u003eGroup I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.\u003c/p\u003e\n      ","\u003cp\u003eGroup II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         \u003ccorpname\u003eUniversity of Virginia's McIntire\n         Concerts\u003c/corpname\u003e(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.\u003c/p\u003e\n      ","\u003cp\u003eGroup III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eLife and Works of Arthur Fickénscher,\n            American Composer , 1871-1954\u003c/title\u003e\u003c/bibref\u003e, unpublished, 1992).\u003c/p\u003e\n      ","\u003cp\u003eA 33 1/3 rpm recording of \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eWillowwood\u003c/title\u003e\u003c/bibref\u003e, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.\u003c/p\u003e\n    ","\u003cp\u003e(manuscripts, master sheets and prints of musical\n               scores)\u003c/p\u003e\n        ","\u003cp\u003eContents: mixed chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAu clair de la lune\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBonhomme que savez-vous faire?\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eJ'ai du bon tabac\u003c/title\u003e\u003c/bibref\u003e; male chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eVive Henri Quartre\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eCharmante Gabrielle\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMalbrouk\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eKyrie Eleison\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Tibi\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Patri\u003c/title\u003e\u003c/bibref\u003e; 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBenedictus Qui Venit\u003c/title\u003e\u003c/bibref\u003e; 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAgnus Dei\u003c/title\u003e\u003c/bibref\u003e; 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria in Excelsis\u003c/title\u003e\u003c/bibref\u003e; 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAmen\u003c/title\u003e\u003c/bibref\u003e; 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eNunc Demitis\u003c/title\u003e\u003c/bibref\u003e; 9. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eSanctus\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAbschied\u003c/title\u003e\u003c/bibref\u003e, (Farewell); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBienchen summ herum\u003c/title\u003e\u003c/bibref\u003e, (Bees); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDrei Röselein\u003c/title\u003e\u003c/bibref\u003e, (Three Rosebuds); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer holde Mai\u003c/title\u003e\u003c/bibref\u003e, (Maytime); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDas Vöglein\u003c/title\u003e\u003c/bibref\u003e, (The Messenger); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFrühlingsbotschaft\u003c/title\u003e\u003c/bibref\u003e, (Cuckoo); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGott weiss es\u003c/title\u003e\u003c/bibref\u003e, (God knows); 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer Gänsedieb\u003c/title\u003e\u003c/bibref\u003e, (The Lusty Robber)\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAm Abend\u003c/title\u003e\u003c/bibref\u003e, (At Evening); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eErster Kuss\u003c/title\u003e\u003c/bibref\u003e, (The First Kiss); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDeutung\u003c/title\u003e\u003c/bibref\u003e, (Reavealings); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGefunden\u003c/title\u003e\u003c/bibref\u003e, (Found); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMondnacht\u003c/title\u003e\u003c/bibref\u003e, (Moonlight); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eHochsommer\u003c/title\u003e\u003c/bibref\u003e, (Midsummer); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBusse\u003c/title\u003e\u003c/bibref\u003e, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFive Compositions for Voice and\n                        Piano\u003c/title\u003e\u003c/bibref\u003e)\u003c/p\u003e\n            "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)"],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["See the \n            \n            University of Virginia Library’s use policy."],"physloc_html_tesm":["\u003cphysloc\u003e\u003c/physloc\u003e\n      "],"corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"names_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"language_ssim":["English"],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:35:01.921Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu01897_c02_c03_c01"}},{"id":"viu_viu01897_c02_c07_c04","type":"Item","attributes":{"title":"Newsclippings about the\n                     \"Polytone\", 1912/1935","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu01897_c02_c07_c04#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu01897_c02_c07_c04","ref_ssm":["viu_viu01897_c02_c07_c04"],"id":"viu_viu01897_c02_c07_c04","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897_c02_c07","parent_ssi":"viu_viu01897_c02_c07","parent_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","\"Polytone\" Invention"],"parent_ids_ssim":["viu_viu01897","viu_viu01897_c02","viu_viu01897_c02_c07"],"title_filing_ssi":"Newsclippings about the\n                     \"Polytone\"","title_ssm":["Newsclippings about the\n                     \"Polytone\""],"title_tesim":["Newsclippings about the\n                     \"Polytone\""],"normalized_title_ssm":["Newsclippings about the\n                     \"Polytone\", 1912/1935"],"text":["Newsclippings about the\n                     \"Polytone\", 1912/1935","Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","\"Polytone\" Invention","Box Box 3"],"parent_unittitles_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","\"Polytone\" Invention"],"parent_unittitles_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","Group II: Professional and\n               Personal","\"Polytone\" Invention"],"normalized_date_ssm":["1912/1935"],"unitdate_other_ssim":["1912-1935, n.d."],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":64,"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"containers_ssim":["Box Box 3"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"date_range_isim":[1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935],"_nest_path_":"/components#1/components#6/components#3","timestamp":"2026-06-23T07:35:01.921Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu01897","ead_ssi":"viu_viu01897","_root_":"viu_viu01897","_nest_parent_":"viu_viu01897","ead_source_url_ssi":"data/uva-sc/viu01897.xml","title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"normalized_title_ssm":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"text":["Arthur Fickénscher Papers \n         ca.\n         1895-1995","12731","ca. 2000 items","Collection is open to research.","Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.","Funded in part by a grant from the National Endowment\n            for the Humanities","The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)","See the \n            \n            University of Virginia Library’s use policy.","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha","English"],"collection_title_tesim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"collection_ssim":["Arthur Fickénscher Papers \n         ca.\n         1895-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["12731"],"unitid_tesim":["12731"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"creator_corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"creators_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha","University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"acqinfo_ssim":["The collection is a consolidation of gift acquisitions\n            received in the Manuscript and Special Collections\n            Departments of the University of Virginia over the period\n            1941-1997 from Edith Cruzan Fickénscher, Arditha\n            Fickénscher, William W. Jones, Robert Septimus\n            Pace, Jr., Gordon Rumson and anonymous donors.","The original classification numbers (listed below) of\n            all acquisitions to this collection have been consolidated\n            into a single classification number: 12731.","Previous Classification Numbers: Manuscript numbers:\n            1093; 5121,-a-b; 8815; Record Group numbers: RG-21/31.771\n            (.791) (.871) (.921) (.961) (.962) (.971)."],"has_online_content_ssim":["false"],"physdesc_tesim":["ca. 2000 items"],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"bioghist_html_tesm":["\u003cp\u003e\u003cpersname normal=\"Arthur Fickenscher\"\u003eArthur\n         Fickénscher\u003c/persname\u003e, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         \u003cemph render=\"italic\"\u003eHochschule der Musik\u003c/emph\u003eand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.\u003c/p\u003e\n      ","\u003cp\u003eIn 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         \u003cpersname\u003eEdith Cruzan\u003c/persname\u003e, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.\u003c/p\u003e\n      ","\u003cp\u003eIn 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         \u003cpersname normal=\"Arditha Fickenscher\"\u003eArditha\u003c/persname\u003e. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eand the orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAucassin and Nicolete\u003c/title\u003e\u003c/bibref\u003ewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.\u003c/p\u003e\n      ","\u003cp\u003eAt the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.\u003c/p\u003e\n      ","\u003cp\u003eA major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003ein Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         \u003ccorpname\u003eUniversity Glee Club\u003c/corpname\u003eand presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         \u003ccorpname\u003eAlbemarle Choral Club\u003c/corpname\u003e; conducted the\n         University of Virginia and the \n         \u003ccorpname\u003eNorfolk Symphony\u003c/corpname\u003eorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003eat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         \u003ccorpname\u003eMcIntire Concerts\u003c/corpname\u003eprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         \u003ccorpname\u003eChrist Episcopal Church\u003c/corpname\u003ein Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.\u003c/p\u003e\n      ","\u003cp\u003eIn 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Land East of the Sun\u003c/title\u003e\u003c/bibref\u003eand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Music Quarterly\u003c/title\u003e\u003c/bibref\u003e(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eThe Chamber Blue\u003c/title\u003e\u003c/bibref\u003ewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003ePiano Quintet\u003c/title\u003e\u003c/bibref\u003e.\u003c/p\u003e\n      ","\u003cp\u003eIn 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.\u003c/p\u003e\n      ","\u003cp\u003eAs a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Sketch"],"bioghist_tesim":["Arthur\n         Fickénscher, composer, pianist, teacher\n         and inventor, was born to George W. and Elizabeth Wagner\n         Fickénscher on March 9, 1871, in Aurora, Illinois.\n         His musical education began at an early age; learning violin\n         and piano under the tutelage and guidance of his music\n         instructor father, he gave his first recital at age six. He\n         spent his later formative years (1883-1889) as a student in\n         Munich, Germany attending the \n         Hochschule der Musikand the Royal\n         Academy from which he graduated with unprecedented honors\n         after studying under such notables in music theory and\n         composition as Joseph Rheinberger and Ludwig Thuille. Upon\n         returning to Illinois, Fickénscher taught piano\n         privately to students and gave formal concert performances\n         around the Chicago area. His reputation as an accomplished\n         pianist and accompanist led to his participation in concert\n         tours throughout the United States and Mexico with many of the\n         distinguished singers of the day such as the great Wagnerian\n         tenor, Anton Shott; Nikita, soprano of the Russian opera;\n         Materna; David Bispham and Madame Shumann-Heink. These tours\n         enhanced his reputation and allowed his piano mastery and\n         musical artistry wide recognition.","In 1896, Fickénscher settled in San Francisco\n         where he taught and coached young singers and studied the\n         potentialities of the human voice. He also began to immerse\n         himself in the composition of original music, being\n         particularly drawn by the influence of the English poets of\n         the Renaissance, Dante Rossetti and William Morris. In 1901,\n         he married \n         Edith Cruzan, an opera and concert singer\n         whose theatrical and musical talents matched his own as they\n         became an acclaimed recital team throughout the west coast.\n         While living in San Francisco, the Fickénschers\n         experienced the great earthquake of 1906. In the fire that\n         devastated the city, they lost their home and many of their\n         possessions including papers, press clippings, memorabilia and\n         compositional manuscripts relating to their concert activities\n         and Fickénscher's early music works.","In 1911, Fickénscher returned to Germany with\n         his wife and young daughter, \n         Arditha. He\n         established a studio in Berlin providing vocal instruction to\n         students and undertook a series of joint recitals with his\n         wife that introduced them to admiring European audiences. In\n         that period, his choral-orchestral poem, \n         The Chamber Blueand the orchestral-choral symphonic poem, \n         Aucassin and Nicoletewere performed to positive reviews in concert\n         presentations. Fickénscher also continued to pursue\n         his idea of perfecting a keyboard for pure intonation and was\n         granted a patent for its design in Germany in 1912.","At the outbreak of World War I, the Fickénschers\n         returned to California. They opened a studio in both Oakland\n         and in San Francisco to instruct and train singers, resumed\n         their joint recital programs and lectures and soon became a\n         couple in great demand in the music circles in the area and\n         beyond. That demand induced them in 1917 to move to New York\n         City, to again teach students and to present themselves in\n         recital and concert programs to metropolitan music lovers.","A major change in Fickénscher's career style\n         took place three years later. In 1920 he accepted an\n         invitation from Edwin A. Alderman, then president of the \n         University of Virginiain Charlottesville,\n         to serve as head of the newly established music department.\n         Over the next 14 years he devoted himself in quiet dignity,\n         but tireless energy to the challenge of organizing, developing\n         and directing the administration of the department. He taught\n         students; gave leadership to the \n         University Glee Cluband presented major\n         concerts in Washington, Baltimore, New Orleans, Richmond and\n         numerous other cities and towns throughout Virginia. He\n         established the \n         Albemarle Choral Club; conducted the\n         University of Virginia and the \n         Norfolk Symphonyorchestras; participated\n         in ensemble recitals, every 2 weeks over a period of 11 years\n         and, in 1938, conducted a fully staged mimo-drama of his work,\n         The Chamber Blueat the University. He performed organ recitals in the\n         University's McIntire Amphitheater; provided piano\n         accompaniment to students in vocal programs and instituted the\n         McIntire Concertsprogram which featured\n         such renowned artists as, Barrère, Alda, Novaes,\n         Homer, Casals, Ponselle, Martinelli and Zimbalist. With all\n         this, he still found time to arrange the settings of numerous\n         college football songs; to serve as the regular organist at \n         Christ Episcopal Churchin Charlottesville\n         and to continue work on his music compositions and on the\n         development and construction of the \"Polytone,\" his idea of a\n         workable intonation keyboard which he designed to subdivide\n         the octave into 60 tones.","In 1941, Fickénscher retired from the University\n         of Virginia and returned to Fairfax in Marin County in\n         California. There he worked to complete his major unfinished\n         orchestral-choral symphonic poem, \n         The Land East of the Sunand to publish an article on the Polytone which he\n         had patented in February 1941. The article, \"The Polytone and\n         the Potentialities of a Purer Intonation,\" appeared in \n         The Music Quarterly(July, 1941). In May, 1946, he participated in\n         concert at Florida State Teacher's College, conducting \n         The Chamber Bluewith the Australian-American composer, Percy Grainger\n         at the piano and, as pianist, joining a string quartet to play\n         the \n         Piano Quintet.","In 1947, the Fickénschers relocated to the city\n         of San Francisco to spend their remaining years near their\n         daughter. Edith Fickénscher died on January 9, 1950\n         and Arthur Fickénscher on April, 15, 1954. Some\n         years later, in 1983, their ashes were spread over the grounds\n         of the University of Virginia cemetery near the grave of their\n         close friends, James Southall Wilson and his wife Julia by two\n         devoted former students and lifelong friends and associates,\n         Robert Septimus Pace, Jr. and William W. Jones.","As a composer, Arthur Fickénscher was influenced\n         by Bach, Wagner and César Franck. His work\n         reflected contemporary trends and was cast in a \"sensuous\n         mysticism\" that intrigued many of his musical colleagues,\n         particularly Percy Grainger (1882-1961) who considered\n         Fickénscher to be one of the few musical geniuses\n         of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eArthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library\u003c/p\u003e\n      "],"prefercite_tesim":["Arthur Fickénscher\n            Papers, Accession 12731, Special Collections Department, University of\n         Virginia Library"],"processinfo_html_tesm":["\u003cp\u003eFunded in part by a grant from the National Endowment\n            for the Humanities\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Funding Note"],"processinfo_tesim":["Funded in part by a grant from the National Endowment\n            for the Humanities"],"scopecontent_html_tesm":["\u003cp\u003eThe Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:\u003c/p\u003e\n      ","\u003cp\u003eGroup I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.\u003c/p\u003e\n      ","\u003cp\u003eGroup II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         \u003ccorpname\u003eUniversity of Virginia's McIntire\n         Concerts\u003c/corpname\u003e(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.\u003c/p\u003e\n      ","\u003cp\u003eGroup III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eLife and Works of Arthur Fickénscher,\n            American Composer , 1871-1954\u003c/title\u003e\u003c/bibref\u003e, unpublished, 1992).\u003c/p\u003e\n      ","\u003cp\u003eA 33 1/3 rpm recording of \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eWillowwood\u003c/title\u003e\u003c/bibref\u003e, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.\u003c/p\u003e\n    ","\u003cp\u003e(manuscripts, master sheets and prints of musical\n               scores)\u003c/p\u003e\n        ","\u003cp\u003eContents: mixed chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAu clair de la lune\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBonhomme que savez-vous faire?\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eJ'ai du bon tabac\u003c/title\u003e\u003c/bibref\u003e; male chorus: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eVive Henri Quartre\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eCharmante Gabrielle\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMalbrouk\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eKyrie Eleison\u003c/title\u003e\u003c/bibref\u003e; 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Tibi\u003c/title\u003e\u003c/bibref\u003e; 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria Patri\u003c/title\u003e\u003c/bibref\u003e; 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBenedictus Qui Venit\u003c/title\u003e\u003c/bibref\u003e; 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAgnus Dei\u003c/title\u003e\u003c/bibref\u003e; 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGloria in Excelsis\u003c/title\u003e\u003c/bibref\u003e; 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAmen\u003c/title\u003e\u003c/bibref\u003e; 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eNunc Demitis\u003c/title\u003e\u003c/bibref\u003e; 9. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eSanctus\u003c/title\u003e\u003c/bibref\u003e\u003c/p\u003e\n            ","\u003cp\u003eContents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAbschied\u003c/title\u003e\u003c/bibref\u003e, (Farewell); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBienchen summ herum\u003c/title\u003e\u003c/bibref\u003e, (Bees); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDrei Röselein\u003c/title\u003e\u003c/bibref\u003e, (Three Rosebuds); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer holde Mai\u003c/title\u003e\u003c/bibref\u003e, (Maytime); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDas Vöglein\u003c/title\u003e\u003c/bibref\u003e, (The Messenger); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFrühlingsbotschaft\u003c/title\u003e\u003c/bibref\u003e, (Cuckoo); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGott weiss es\u003c/title\u003e\u003c/bibref\u003e, (God knows); 8. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDer Gänsedieb\u003c/title\u003e\u003c/bibref\u003e, (The Lusty Robber)\u003c/p\u003e\n            ","\u003cp\u003eContents: 1. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eAm Abend\u003c/title\u003e\u003c/bibref\u003e, (At Evening); 2. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eErster Kuss\u003c/title\u003e\u003c/bibref\u003e, (The First Kiss); 3. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eDeutung\u003c/title\u003e\u003c/bibref\u003e, (Reavealings); 4. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eGefunden\u003c/title\u003e\u003c/bibref\u003e, (Found); 5. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eMondnacht\u003c/title\u003e\u003c/bibref\u003e, (Moonlight); 6. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eHochsommer\u003c/title\u003e\u003c/bibref\u003e, (Midsummer); 7. \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eBusse\u003c/title\u003e\u003c/bibref\u003e, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eFive Compositions for Voice and\n                        Piano\u003c/title\u003e\u003c/bibref\u003e)\u003c/p\u003e\n            "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Papers of Arthur Fickénscher contain ca.\n         2,000 items (11 shelf feet) that span the years 1895-1995. The\n         largest portion of the papers, consists of originals and\n         copies of virtually all of the music that\n         Fickénscher produced. The remaining portion\n         contains correspondence and other papers of a professional and\n         personal nature. The collection has been divided into three\n         major groups:","Group I, (Correspondence), contains letters sent to\n         Fickénscher and drafts and second copies of letters\n         that he prepared. The correspondence is subdivided into three\n         categories: (1) General, (2) Named and (3) Polytone Related.\n         These are listed by date or by correspondent name to highlight\n         special interest or subject matter.","Group II, (Professional and Personal), contains items\n         relating to Fickénscher's music and academic career\n         activities. These include published articles; biographical\n         background about his life and work; catalogue descriptions of\n         his music; memorabilia in the form of concert and recital\n         programs; reviews and newspaper clippings; a compilation of\n         notes, drawings and music relating to the evolution and\n         development of the \"Polytone;\" and an assortment of other\n         miscellaneous items consisting of financial and contract\n         records of the \n         University of Virginia's McIntire\n         Concerts(1919-1939); photographs of family and\n         friends; instructor notes for voice lessons; some brochures\n         about musical instruments; name and address notebooks and\n         family birth, marriage and burial documents.","Group III, (Compositions), contains original manuscripts,\n         master sheets for duplication and print copies of musical\n         scores. These items have been consolidated into oversized\n         folders for ease of reference and study and have been arranged\n         in this listing under descriptive categories similar to those\n         used by Fickénscher in describing his own\n         compositions and by others who have catalogued his musical\n         works. (see William W. Jones and Gordon Rumson (Box 1, below)\n         and also William W. Jones, \n         Life and Works of Arthur Fickénscher,\n            American Composer , 1871-1954, unpublished, 1992).","A 33 1/3 rpm recording of \n         Willowwood, (a setting of four sonnets by Rossetti for\n         mezzo-soprano with piano, viola and bassoon accompaniment) has\n         been transferred to the appropriate custodial section of the\n         University of Virginia Special Collections Department where it\n         is identified as part of these papers.","(manuscripts, master sheets and prints of musical\n               scores)","Contents: mixed chorus: 1. \n                     Au clair de la lune; 2. \n                     Bonhomme que savez-vous faire?; 3. \n                     J'ai du bon tabac; male chorus: 1. \n                     Vive Henri Quartre; 2. \n                     Charmante Gabrielle; 3. \n                     Malbrouk","Contents: 1. \n                     Kyrie Eleison; 2. \n                     Gloria Tibi; 3. \n                     Gloria Patri; 4. \n                     Benedictus Qui Venit; 5. \n                     Agnus Dei; 6. \n                     Gloria in Excelsis; 7. \n                     Amen; 8. \n                     Nunc Demitis; 9. \n                     Sanctus","Contents: \"Alma Mater\"; \"Come Boys and Join\n                     Together\"; \"Eli Banana: Tilka Song\"; \"Georgetown\n                     is Dying\"; \"Give Us a Song, Boys\"; \"The Good Old\n                     Song\"; \"Ha! Ha! Virginia\"; \"Hike Virginia\"; \"In a\n                     Rose-Tinted Valley\"; \"Just Another Touchdown for\n                     U.Va.\"; \"Now We'll Lick Old Yale\"; \"Oh! Carolina\";\n                     \"Old Virginia\"; \"Orange and Blue\"; \"Virginia,\n                     Hail, All Hail!\"; \"Virginia, Hail, All Hail!\"\n                     (version two); \"Virginia Yell Song\"; \"Virginia's\n                     Banner\"; \"We're the Team from U. Va.\"","Contents: 1. \n                     Abschied, (Farewell); 2. \n                     Bienchen summ herum, (Bees); 3. \n                     Drei Röselein, (Three Rosebuds); 4. \n                     Der holde Mai, (Maytime); 5. \n                     Das Vöglein, (The Messenger); 6. \n                     Frühlingsbotschaft, (Cuckoo); 7. \n                     Gott weiss es, (God knows); 8. \n                     Der Gänsedieb, (The Lusty Robber)","Contents: 1. \n                     Am Abend, (At Evening); 2. \n                     Erster Kuss, (The First Kiss); 3. \n                     Deutung, (Reavealings); 4. \n                     Gefunden, (Found); 5. \n                     Mondnacht, (Moonlight); 6. \n                     Hochsommer, (Midsummer); 7. \n                     Busse, (Penitence). (1, 2, 3, 4, 5 published\n                     as: \n                     Five Compositions for Voice and\n                        Piano)"],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["See the \n            \n            University of Virginia Library’s use policy."],"physloc_html_tesm":["\u003cphysloc\u003e\u003c/physloc\u003e\n      "],"corpname_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts"],"persname_ssim":["Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"names_ssim":["University of Virginia. Library. Special\n            Collections Dept.","University of Virginia","University Glee Club","Albemarle Choral Club","Norfolk Symphony","McIntire Concerts","Christ Episcopal Church","University of Virginia's McIntire\n         Concerts","Arthur\n         Fickénscher","Edith Cruzan","Arditha"],"language_ssim":["English"],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:35:01.921Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu01897_c02_c07_c04"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"University of Virginia, Special Collections Dept.","value":"University of Virginia, Special Collections Dept.","hits":18},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Arthur+Fick%C3%A9nscher+Papers+%0A+++++++++ca.%0A+++++++++1895-1995\u0026f%5Bdate_range%5D%5B%5D=1920\u0026f%5Brepository%5D%5B%5D=University+of+Virginia%2C+Special+Collections+Dept."}}]},"links":{"self":"https://arvasarchive.org/catalog/facet/repository_ssim.json?f%5Bcollection%5D%5B%5D=Arthur+Fick%C3%A9nscher+Papers+%0A+++++++++ca.%0A+++++++++1895-1995\u0026f%5Bdate_range%5D%5B%5D=1920"}},{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Arthur Fickénscher Papers \n         ca.\n         1895-1995","value":"Arthur Fickénscher Papers \n         ca.\n         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