Jump to content

Emanuel Leplin: Difference between revisions

Edit links
From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
Rleplin (talk | contribs)
432 edits
Rleplin (talk | contribs)
432 edits
Line 4: Line 4:
== Violin student ==
== Violin student ==


Leplin was the only child of Russian [[Jewish]] immigrants, [http://search.ancestry.com/cgi-bin/sse.dll?gl=allgs&gsfn=James&gsln=Leplin&gss=seo&ghc=20 Dora and James Leplin]. He began violin study at the age of eight and began composing at the age of 16.<ref>American Symphony Orchestra League, Inc., ''The League 1959-60 Recording Project for Contemporary Music Catalogue,'' 1960</ref> When he was 14, James was committed to the [[Napa State Hospital]], an asylum for those with a serious mental illness. His diagnosis was [[major depressive disorder]]. Dora Leplin, a seamstress, raised Manny thereafter by herself.<ref name="SFHC" />
Leplin was the only child of Russian [[Jewish]] immigrants, [http://search.ancestry.com/cgi-bin/sse.dll?gl=allgs&gsfn=James&gsln=Leplin&gss=seo&ghc=20 Dora and James Leplin]. He began violin study at the age of eight and began composing at the age of 16.<ref name=ASOL> "American Symphony Orchestra League, Inc.">, ''The League 1959-60 Recording Project for Contemporary Music Catalogue,'' 1960</ref> When he was 14, James was committed to the [[Napa State Hospital]], an asylum for those with a serious mental illness. His diagnosis was [[major depressive disorder]]. Dora Leplin, a seamstress, raised Manny thereafter by herself.<ref name="SFHC" />


[http://bkfellowships.org/daniel-e-koshland-sr/ Dan Koshland Sr.], a founder of [[Levi Strauss & Co.]], paid for Leplin to have violin lessons with [[Kathleen Parlow]], a Canadian former child prodigy turned virtuoso.<ref name="EL Wins" /> Other San Francisco philanthropists who sponsored Leplin included [http://www.geni.com/people/Ruth-Lilienthal/6000000008102611252 Ruth Lilienthal (Haas)], an affiliate of [[Levi Strauss & Co.]], and [http://www.sfgate.com/bayarea/article/Agnes-Albert-pianist-S-F-Symphony-supporter-2827933.php Agnes Albert], vice president of the San Francisco Symphony Association.<ref>"Composer Emanuel Leplin Dies," ''[[San Francisco Chronicle]]'', December 1972</ref> After Parlow, Leplin studied with [[Naoum Blinder]], concertmaster of the Symphony.<ref name="EL Wins">Emanuel Leplin Wins Scholarship, ''S.F. Chronicle'', 1937</ref>
[http://bkfellowships.org/daniel-e-koshland-sr/ Dan Koshland Sr.], a founder of [[Levi Strauss & Co.]], paid for Leplin to have violin lessons with [[Kathleen Parlow]], a Canadian former child prodigy turned virtuoso.<ref name="EL Wins" /> Other San Francisco philanthropists who sponsored Leplin included [http://www.geni.com/people/Ruth-Lilienthal/6000000008102611252 Ruth Lilienthal (Haas)], an affiliate of [[Levi Strauss & Co.]], and [http://www.sfgate.com/bayarea/article/Agnes-Albert-pianist-S-F-Symphony-supporter-2827933.php Agnes Albert], vice president of the San Francisco Symphony Association.<ref>"Composer Emanuel Leplin Dies," ''[[San Francisco Chronicle]]'', December 1972</ref> After Parlow, Leplin studied with [[Naoum Blinder]], concertmaster of the Symphony.<ref name="EL Wins">Emanuel Leplin Wins Scholarship, ''S.F. Chronicle'', 1937</ref>

Revision as of 00:09, 29 November 2013

Emanuel Leplin (1917–1972) was a composer,[1] conductor, and painter[2] active mainly in the second half of the 20th century. He was born in San Francisco, and joined the San Francisco Symphony as a violist in 1941,[3] conducting it in two of his own works, in 1941[4][5] and 1947.[6] In 1954, he contracted polio, and afterward, was unable to hold a brush or compose using anything below his neck but the first three fingers of his right hand.[7][8][9]

Violin student

Leplin was the only child of Russian Jewish immigrants, Dora and James Leplin. He began violin study at the age of eight and began composing at the age of 16.[10] When he was 14, James was committed to the Napa State Hospital, an asylum for those with a serious mental illness. His diagnosis was major depressive disorder. Dora Leplin, a seamstress, raised Manny thereafter by herself.[7]

Dan Koshland Sr., a founder of Levi Strauss & Co., paid for Leplin to have violin lessons with Kathleen Parlow, a Canadian former child prodigy turned virtuoso.[11] Other San Francisco philanthropists who sponsored Leplin included Ruth Lilienthal (Haas), an affiliate of Levi Strauss & Co., and Agnes Albert, vice president of the San Francisco Symphony Association.[12] After Parlow, Leplin studied with Naoum Blinder, concertmaster of the Symphony.[11]

Paris and painting

Leplin attended the San Francisco Conservatory of Music and the University of California, Berkeley Department of Music, where he studied with E.G. Strickland and Albert Elkus. He studied composition for two summers with Roger Sessions, in 1936 and 1937. In 1939, he won the George Ladd Prix de Paris competition, which awarded the winner with a two-year fellowship to study in Paris.[11] Rather than study with the popular Nadia Boulanger, he chose Darius Milhaud. Milhaud was one of the Groupe des Six (Milhaud, Arthur Honegger, Francis Poulenc, Germaine Tailleferre, Georges Auric, Louis Durey), who wrote rhythmically and harmonically animated pieces such as the Scaramouche Suite for two pianos, and, while in Brazil, Le bœuf sur le toit (The English title is "The Ox on the Roof of The Nothing-Doing Bar").

Leplin studied conducting first in the south of France, then in Hancock, Maine, at the schools of Pierre Monteux, then the conductor of the San Francisco Symphony (SFS). He studied violin with Romanian composer and violinist George Enescu,[2] and with Yvonne Astruc, whose Paris salon was a venue for chamber concerts.[2][9][11]

Leplin spent 1943-46 in the Army. Upon his return to San Francisco, he rejoined the Symphony, at the request of Monteux as a violist,[13] and began composing works for orchestra, and painting oils of San Francisco, its skyscrapers, the Japanese Tea Garden (San Francisco, California),

File:S.F. Japanese Tea Garden Gate.png
Japanese Tea Garden Gate, 1947

museums and bridges, as well as outlying scenes including Monterey Harbor and Carmel Valley (see Gallery at end of article for namesake paintings).

Performances and reviews

Viola Luther Hagopian, author of Italian ars nova music: a bibliographic guide to modern editions and related literature, wrote: "This talented young man directed the San Francisco Symphony Orchestra at the Civic Auditorium, December 16 (1941) in his own composition Prelude and Dance. The music critics give him very high ratings as to his music and conducting. He is possessed of a wonderful personality and the gift of composing, playing and teaching. Emanuel Leplin will some day be rated amongst the world’s greatest artists."[14]

Marjory M. Fisher wrote: “Leplin’s ‘Prelude and Dance’ was strongly reminiscent in its scoring and general brilliance of the Rimsky-Korsakoff Introduction and Wedding March from ‘The Golden Cockerel,’ which had opened the program. The Prelude was the more impressive, but the Dance had much of the glitter and excitement of the Russian’s instrumentation plus an obvious bit of jazz influence...As a conductor, the 23-year-old composer displayed unusual competence and skill. Mr. Leplin is without doubt capable of making his name mean something in the musical world.”[15]

Alfred Frankenstein, music critic of the San Francisco Chronicle, wrote: “This proved to be a dynamic, high-spirited, saltily orchestrated piece...quite worth the hearing.”.[16] Alexander Fried, music critic of the San Francisco Examiner wrote: “(It has) incisive modern energy, intricacy, and directness...Incidentally, Leplin proved to be a keenly talented conductor."[17]

Alfred Frankenstein wrote of the premiere of Leplin’s Romantic Fantasy for Woodwinds and Piano: “It seemed the production of a modernist amusing himself with romanticism, and finding some breezy, stimulating, fresh-turned material in the process.”[18] Alexander Fried wrote: “The honors in technical ability went to Mr. Leplin’s Romantic Fantasy...It was a joy to hear suspensions which were practically non-existent in the preceding works.”[19]

Marjory Fisher wrote of Leplin’s Suite for Quartet: "It proved a most engaging novelty. Gay little melodies and definite rhythms characterized the six brief movements of the suite. Yet there was one plaintive melody which distinguished the Andante no less that Leplin’s command of quartet instrumentation distinguished the whole suite. The work proved one of the most ingratiating of the new scores introduced in several seasons.”[20] Alfred Frankenstein wrote: “six short, tuneful, beautifully tailored and cleanly executed movements. This is, to my taste, the most vivid, neatly formed and deftly expressive work of Leplin which has yet been given here.” [21]

In 1947, the San Francisco Symphony went on a transcontinental tour, performing 56 concerts in 57 days. Leplin's orchestral piece Comedy was chosen to be a featured work of this tour.[22][23] Leplin first conducted Comedy in San Francisco, and at the Greek Theatre at U.C. Berkeley, on May 23.[24] Alexander Fried wrote, “It is a speedy, whimsical, tight-knit score. Its strong points are its adroit, tireless energy, its high-strung impudence and its spicy, tingling mixtures of orchestral sound.”[25] Samuel T. Wilson wrote of the April 21 performance in Columbus, Ohio: “Mr. Leplin thinks clearly, concisely, and naturally in modern musical idioms. His instrumental writing is notably lucid and direct...an exceedingly effective essay...indications were that Mr. Leplin has definite gifts as a conductor.”[7] Of the performance in Sacramento, Mila Landis wrote: the composer “conducted Comedy with great zeal...(it) proved to be stimulating...it issues a peremptory challenge for interest and attention.”[26]

Comedy received this review in Pasadena: “Comedy protested”: “During the intermission...a committee of San Marino Club members (self-appointed, I am sure) confronted the manager and vociferously and vehemently expressed their disapproval...(of Comedy) which another audience in San Diego received with marked cordiality. The work must have been powerful, in itself or it could not have awakened so violent a reaction.”[7]

Comedy was to be the second part of a four-part work called The Drama. The first part, Prologue, was written in 1960 and premiered by the Fresno Philharmonic, conducted by Paul Vermel. Click on this link to listen to this performance of Prologue. Tragedy and Epilogue were never written.[7] On March 20, 1962, the Sacramento Symphony performed Comedy, with conductor Fritz Berens.[27]

Leplin wrote four more orchestral works in the ‘40s: Galaxy, for two solo cellos and orchestra (1942), Cosmos for violin and orchestra (1947), Incidental Music for Iphegenia of Sophocles, and Birdland (1948). The Mill Valley Philharmonic, conducted by Laurie Cohen, gave a performance of Birdland in its premiere concert in 2000. As of 2013, the other two pieces have yet to be performed.

A concert by the American Federation of Musicians held in San Francisco on August 26, 1949 which was conducted by Leplin, contained works by Schubert, Beethoven and Bartók, and included two of Leplin’s own works. Alfred Frankenstein wrote: “Leplin came out quite well, both as a creator and interpreter. His peppery, intense and brilliantly orchestrated set of three dances was especially impressive...(the Beethoven symphony) was an assured, breezy, well-considered interpretation...on the whole intelligently conceived and knowingly executed.”[28]

In 1951, Leplin founded the San Jose Junior Symphony,[29][30] later called the San Jose Youth Symphony and in 1953 and '54 he conducted the first three performances of the San Francisco Chamber Orchestra.[31] On summer Sundays, Leplin played with SFS at Stern Grove.

File:On Mt. Hooper.jpg
"Manny" Leplin on Mt. Hooper in the Sierra Nevada Range with members of the San Francisco Symphony, 1954

Sierra trip

In the summer of 1954, Leplin went to the High Sierras with several members of the San Francisco Symphony, including Robert S. Gottlieb.[3] They planted a flag on Mt. Hooper. Gottlieb moved on to become a professor of music at Evergreen State College, and wrote a book about the tabla drumming of north India.

Polio

In the fall of 1954, Leplin contracted polio. He spent eight months in an iron lung (Negative pressure ventilator).[32] There was an epidemic of polio in the Bay Area. While he was in a San Francisco hospital, The California Symphony Orchestra, conducted by Murray Graitzer,[3] as well as members of SFS, performed a benefit concert for Leplin on May 11, 1955. Darius Milhaud guest conducted in spite of his well-known arthritis, in two of his own pieces, Mediterranean Overture and Air for Viola and Orchestra, which he dedicated to Leplin.[33][34][35] According to one press citation, “All unions, including the musicians, stagehands, drayage, box office, etc. are giving their services gratis for the May 11th event. What Leplin doesn’t yet know is that the radio engineers and the telephone company will run a direct line to his bedside at Maimonides, so that he will be among those present.”[7]

At the same time, Leplin had a one-man show of sixteen of his paintings—"most of them painted since his crippling attack of polio in 1954, the artist holding the brush with his teeth"—at the California Palace of the Legion of Honor Museum.[36]

Later in the year, Comedy was played on The Standard Hour, a weekly radio broadcast of SFS concerts that was heard in major cities from Los Angeles to Seattle. (Standard refers to Standard Oil, which changed its name to Chevron.) The broadcast was aired in the hospital room where Leplin was recovering from polio.[37][38] Click this link to listen to this broadcast of Comedy.

Continued composition and painting

Leplin was spared the paralysis of the thumb and first two fingers of his right hand. This enabled him to hold a pencil and return to composition. While wife Anita was teaching in the Belmont School District, Leplin would spend several hours each day composing. He had a lapboard that rested on the arms of his wheelchair, on which manuscript paper was placed. In the patio, with only the occasional barking the family Catahoula or the rehearsing of the nearby Serra High School Band to disturb the silence, he conceived of complex orchestral scores that, like Beethoven, he was only able to hear, while he composed them, in his mind.

4,6,7 of May 1960, SFS performed Leplin’s first orchestral works written with three fingers and pencil, Landscapes and Skyscrapers. SFS chose to display two of his paintings, one the aforementioned Carmel Valley, and the other a painting of S.F. skyscrapers. They were prominently on view in the Opera House lobby during the three premier performances of his complementary pieces.[39] The feature article in the section “This World” of the San Francisco Chronicle (May 1, 1960) was titled “The World Premiere of Leplin’s Compositions and Canvases,” and ran photos of the two paintings.

File:Carmel Valley.png
Carmel Valley 1952

Alfred Frankenstein wrote: “Serenity, clarity, richness of color, and strength of substances were the keynote in Landscapes and Skyscrapers added great excitement of rhythm, a grand gesture, a sense of the epical and the monumental. Both pieces are by no means easy to play, but Jorda and the orchestra gave them extremely brilliant performances, and they were extremely well received.”[40]

Alexander Fried wrote that the pieces were “deeply impressive” and “striking.” “There are two opposite balances of mood in the Leplin poems. Landscapes is on the whole a work of quieter reflection, building up to incidental climaxes here and there. Skyscrapers, on the contrary, is vigorous and aggressive, but has its softer interludes. Both works have craftsmanship and musical ideas that build into a large, consistent form...They combine direct expressive impact with an overtone of broader vision.”[41] The conductor was Enrique Jorda. Click on this link to listen to Landscapes.

Jorda also conducted Leplin’s next piece, Symphony No. One, which was commissioned by Agnes Albert and other friends of SFS for the 50th Anniversary season.[42][43] SFS premiered it on 3, 4, 5 of January 1962.[44] Subtitled "Of the Twentieth Century," it has a title for each movement: Illumination, Consternation, Contemplation and Adaptation. For the premiere, Leplin painted four pictures with a brush clamped in his teeth. The polio epidemic did not boast many paralyzed painters, and San Francisco newspapers ran stories about his dual capabilities.

George Dusheck wrote: “If any in the audience were minded to approach Leplin’s work with a kindly tolerance, suitable to a gallant effort by an afflicted fellow human, they were immediately put straight by Leplin’s music. It is a big, vital, masculine, muscular work. It defies you to pity a man who can blow such life into a big orchestra with his mind.”[45] Alfred Frankenstein called it: “...a big symphony, an immensely complex, difficult and dramatic work, full of ironic and philosophic commentary on the world of the present day, and magnificently vital in its rhythms, its handling of the grand orchestra, and its marshalling of heroic forms.”[46] Alexander Fried wrote: “The symphony comments on man’s physical achievements, until human progress edges over into distress and fear. Then it seeks ideals by which man may make his peace with the world, and reach for a higher future. In its musical idiom, Leplin’s work has violent expressionist intensity, passages of lofty atmosphere and an uncommonly grand scope of orchestra thinking.”[47] Click on this link to listen to the premiere S.F. Symphony performance of Symphony No. One.

Leplin wrote two more symphonies.[48][49] In January, SFS conductor Josef Krips came to San Mateo, sat beside Leplin, and sang the entire 45-minute Second Symphony, pausing only between movements, and demonstrating that Leplin symphonies had continuous rhythm and melody (unlike much of later Twentieth Century music) throughout. When he finished, Krips exclaimed: "It's more complicated than Stravinsky!" (as noted in Kile Smith's Discoveries From the Fleisher Collection)[50] The Second Symphony was premiered by SFS, Krips conducting, on 19, 20, 21 of January 1966.[51]Click on this link to listen to the premiere S.F. Symphony performance of Symphony No. Two.

In SFS’ program notes, Edward Lawton, a professor of music at U.C. Berkeley, wrote: “Symphony No. Two is, as a whole, rich in thematic material, with individual sections containing as many as four separate and distinct themes. Behind them, however, two principal impulses are at work, the rhythmic and the lyric, and much is made of the opposition between these impulses—not only in large sectional areas, but also in short, rapid, dramatic juxtapositions. All of this is supported by a sensitive, natural ear for instrumental color, cultivated and schooled by Mr. Leplin’s years in the orchestra and as a conductor.”

Leplin received a letter from Leonard Bernstein dated 24 Sept. ’65, in which Bernstein called Leplin's Symphony No. One "extraordinary music" that "should be heard." However, Bernstein never performed a work by Leplin.

In 1968 a feature article about Leplin appeared in the February 1968 edition of MD Magazine. The cover read “Indomitable Artist”, and displayed a photo of Leplin and his Catahoula Mocha.[7](No online info extant.)

File:"Manny" and Mocha, 1968.tiff
Manny and his dog Mocha, 1968

In the late 1960s, the Leplins received an inheritance that enabled them to build a house in a gated seaside community called Pajaro Dunes. Leplin designed the house. They bought a dune buggy, and tooled around the fertile Watsonville-area farming country, partly so Leplin could find scenes to sketch for oil paintings, and the forty watercolors he painted, without being able to move his hand.

Leplin became the editor of a newsletter that went out to people around the Bay Area who had become paralyzed by polio. It was called The Spokesman—Voice of the Handicapped. Leplin inserted doodles, and wrote political columns advocating for disability rights.[7]

File:Anita lighting Manny's pipe smaller.png
Anita Leplin lights Manny's pipe in 1967

Leplin's composition Music For Festive Services was premiered in 1965, with Darius Milhaud in attendance. Alexander Fried wrote of two passages: "Their beauty has mystic vision."[52] In The San Francisco Symphony—Music, Maestros, and Musicians, Leplin's friend and fellow SFS musician David Schneider wrote: "I had known Emanuel since our early teens, and he was one of the most vital persons I’ve ever known.”[53]

On October 13, 1972, the Little Symphony of the SFS Orchestra performed the second part of Leplin's Divertimento for Chamber Orchestra, entitled Firecracker.[54] The first part, Requiem for a Dog, awaits a performance. Click this link to listen to this performance of Firecracker.

In November 1972, Leplin was the victim of an accident. He died on December 2.[55] In the week following his death, the San Francisco Symphony, led by Seiji Ozawa, performed his five-minute piece Elegy for Albert Elkus. A note in the program dedicated the concerts to Leplin.[56] Alfred Frankenstein wrote: The “Elegy” speaks gently and affectingly to the personalities of both men. It is warm and lyric in an idiom that suggests the Hindemith tradition. Spacious, beautifully phrased lines and rich sonorities are combined handsomely, an unpretentious statement that sings on the instruments easily, a natural and genuine inspiration. Ozawa and the Orchestra performed it with affectionate spirit and feeling.”[57]

Leplin left behind him many unperformed works for orchestra including (in addition to those already mentioned) Symphony No. 3, the Violin Concerto, five string quartets, numerous other chamber pieces, and the first twenty pages of a piano concerto. All of Leplin's orchestral works are housed in, and may be borrowed from, the Edwin A. Fleisher Collection of Orchestral Music (click here for catalog) at the Free Library of Philadelphia. Ten scores are housed at the San Francisco History Center of the San Francisco Public Library (click here for catalog), and 28 of his pieces are housed in the Jean Gray Hargrove Music Library of the University of California Berkeley (click here for catalog).

A list of all of Leplin's compositions is at http://www.emanuelleplin.info/leplinbio.html.

Oil paintings

Watercolors

Notes

  1. ^ (12/04/1972). "Emanuel Leplin, Violinist, Composer". The Washington Post, Times Herald (1959-1973), p. C6.
  2. ^ a b c "Emanuel Leplin, Composed and Painted Despite Polio," The New York Times, Sunday, December 3, 1972
  3. ^ a b c http://www.stokowski.org/San_Francisco_Symphony_Musicians_List.htm
  4. ^ San Francisco Symphony program including Emanuel Leplin’s Prelude and Dance, Emanuel Leplin conducting, in a concert by Pierre Monteux, December 16, 1941
  5. ^ "City Acclaims Young Composer: Emanuel Leplin, Promising Talent", San Francisco Chronicle, 1941
  6. ^ San Francisco Symphony program including Emanuel Leplin’s Comedy, Emanuel Leplin conducting, in a concert by Pierre Monteux, 26, 27, 28, December, 1947
  7. ^ a b c d e f g h Emanuel Leplin Archive, San Francisco History Center San Francisco Public Library
  8. ^ The San Francisco Symphony—Music, Maestros, and Musicians, David Schneider, Presidio Press, 1983
  9. ^ a b "Composer-artist Leplin dies," [[Palo Alto Times]], December 5, 1972 p. 16
  10. ^ "American Symphony Orchestra League, Inc.">, The League 1959-60 Recording Project for Contemporary Music Catalogue, 1960
  11. ^ a b c d Emanuel Leplin Wins Scholarship, S.F. Chronicle, 1937
  12. ^ "Composer Emanuel Leplin Dies," San Francisco Chronicle, December 1972
  13. ^ "Man of Music", Day and Night With Radio and Television, by Dwight Newton, San Francisco Examiner, March 19, 1955
  14. ^ "City Acclaims Young Composer: Emanuel Leplin, Promising Talent", San Francisco Chronicle, 1941
  15. ^ “Three Ovations Scored in ‘Pop’ Symphony," San Francisco Call, December 17, 1941).
  16. ^ "Music: Robeson Proves He's Still Greatest Bass," S.F. Chronicle, December 17, 1941
  17. ^ "6,000 Attended S.F. Symphony, Hear Robeson," S.F. Examiner, December 17, 1941
  18. ^ "Music: Five Works Heard at Forum," S.F. Chronicle, February 1941
  19. ^ "Composers Forum," S.F. Examiner, February 1941
  20. ^ “Quartet Heard in Novel Fare,” S.F. Call-Bulletin, March 13, 1947
  21. ^ "S.F. Quartet Continues Brahms Cycle,” S.F. Chronicle, March 13, 1947
  22. ^ "Local Composer's Work Accepted by Symphony," S.F. Chronicle, December, 1947
  23. ^ "A Tribute To Two Colleagues" by David Schneider, San Francisco Sunday Examiner and Chronicle, November 25, 1979
  24. ^ San Francisco Symphony Program, Greek Theatre, University of California, Berkeley, Sunday May 25
  25. ^ "Menuhin Draws Concert Crowds,” S.F. Examiner, May, 1947
  26. ^ "S.F. Symphony and Monteux Get Hearty Reception Here," The Sacramento Bee, 1947
  27. ^ Program of the Sacramento Symphony Orchestra, Season 1961-62, March 20, 1962
  28. ^ "AFL Concert Is Conducted By Leplin," S.F. Chronicle, August 27, 1949
  29. ^ "Handicapped Artist," by Vera Graham, San Mateo Times, February 6, 1965 p. 12A
  30. ^ "The Marquee" by Barbara Bladen, San Mateo Times, January 6, 1966
  31. ^ Programs for concerts composed of members of the San Francisco Symphony, and conducted by Emanuel Leplin at B’Nai B’Rith Hillel Foundation, Berkeley, April 12, and at Congregation Sherith Israel in San Francisco, May 21, 1953; Program for the Second Annual Spring Concert of members of SFS conducted by Emanuel Leplin at San Francisco City College on May 11, 1954
  32. ^ "The World Premiere of Leplin's Compositions and Canvases," by Leland Meyerzove, S.F. Sunday Chronicle, Page 23, May 1, 1960
  33. ^ "Susan Smith Says," S.F. Examiner, May 17, 1955
  34. ^ "Concert for Stricken Musician: California Symphony Makes Debut," by Alfred Frankenstein, S.F. Chronicle, May 17, 1955
  35. ^ "Symphony to Give Benefit for Ailing Violist," S.F. Examiner, May 9, 1955
  36. ^ "Polio Victim To Be Star Of Concert," S.F. Chronicle, May 9, 1955
  37. ^ "Man of Music", Day and Night With Radio and Television, by Dwight Newton, S.F. Examiner, March 19, 1955
  38. ^ "Far From Washed Up," San Mateo Times, December 13–14, 1958
  39. ^ San Francisco Symphony program, May 4,6,7, 1960
  40. ^ "Symphony Plays Leplin Tone Poems," by Alfred Frankenstein, S.F. Chronicle, May 6, 1960
  41. ^ "Enthusiasm Greets Leplin's Tone Poems," by Alexander Fried, S.F. Examiner, May 6, 1960
  42. ^ "Talent and Courage Give Birth to a Symphony—A Painter-Composer Holds a Dual Premiere" by Alexander Fried, S.F. Examiner, 1/2/1962
  43. ^ "A Pianist and a Composer Join the Symphony's Jubilee," by Alexander Fried, S.F. Examiner, January 4, 1962
  44. ^ San Francisco Symphony 50th Season - Fifth Program, January 3,4,5, 1962
  45. ^ "Leplin's New Symphony Sounds Fine," S.F. Call-Bulletin, January 5, 1962
  46. ^ S.F. Chronicle, January 5, 1962
  47. ^ S.F. Examiner, January 4, 1962
  48. ^ "New Symphony: Polio Victim Scores Again" by Virginia McMurtry, San Francisco Call-Bulletin, January 9th, 1966
  49. ^ "Leplin Writes Music To Uplift the Spirit," by Arthur Bloomfield, S.F. Examiner, January 18, 1966
  50. ^ "An Indomitable Genius Gets His Due," Disabilities Digest, April/May 1995/Volume 1, Issue 2
  51. ^ San Francisco Symphony Program, January 19, 20, 21, 1966
  52. ^ "Leplin's Major Addition To Music of Synagogue," S.F. Examiner, February 23, 1965, p. 34
  53. ^ Schneider, 1983
  54. ^ Program of the Little Symphony of the San Francisco Symphony Orchestra, Third Annual Fall Community Concert Series, October 13, 1972
  55. ^ The New York Times, Sunday, December 3, 1972, "Emanuel Leplin Composed and Painted Despite Polio"
  56. ^ "Of Human Interest" by Herb Caen, S.F. Chronicle, December 7, 1972
  57. ^ S.F. Chronicle, December 8, 1972, p. 62

Template:Persondata

Retrieved from "https://en.wikipedia.org/w/index.php?title=Emanuel_Leplin&oldid=583723448"