Peabody Institute Robert Hall Lewis collection
Scope and Contents
This collection (1976-1996) contains newspaper clippings and related publicity about Robert Hall Lewis, correspondence between Lewis and the Peabody Institute, two photocopies of the holograph for his String Quartet No. 4, and three musical sketches for his Symphony No. 4.
- Creation: 1976 - 1996
Conditions Governing Access
The collection is open for use at the Arthur Friedheim Library Archives of the Peabody Institute. Contact email@example.com for more information.
Conditions Governing Use
Single copies may be made for research purposes. Researchers are responsible for determining any copyright questions. It is not necessary to seek our permission as the owner of the physical work to publish or otherwise use public domain materials that we have made available for use, unless Johns Hopkins University holds the copyright. All requests for permission to publish or perform materials in this collection must be submitted in writing to the archivist of the Arthur Friedheim Library.
Biographical / Historical
Robert Hall Lewis (1926-1996) was an American composer. He studied with Rogers and Hanson at the Eastman School of Music, Rochester, New York (BM 1949, MM 1951, PhD 1964), with Nadia Boulanger and Bigot in Paris (1952–3), and with Apostel, Krenek and Schiske in Vienna (1955–7). In 1954 he attended Monteux’s conducting school. Lewis taught at Goucher College and the Peabody Conservatory from 1958 and, from 1969 to 1980, at Johns Hopkins University, where he became professor in 1972 (all in Baltimore, Maryland). He performed professionally on the trumpet and appeared as a conductor in the USA and abroad. Among his awards are a Kosciuszko Foundation Chopin Award (1951), two Fulbright Scholarships (1955–7), two Guggenheim Fellowships (1966, 1980), an NEA grant (1976) and an award from the American Academy and Institute of Arts and Letters (1976).
Lewis composed mostly chamber and orchestral music. His earlier compositions were concerned with linear developmental processes using serial methods, but the ordered growth and evolution apparent in his music of the 1960s and 70s reflect a change in style. Beyond his basic predilection for inventive textures, unusual timbres, complex rhythms, fluent polyphony and rich harmony in a freely atonal context, Lewis sought new modes of expression in works since the early 1970s. These include spatial effects (Moto, Due madrigali), quotations (Atto, Kantaten), taped sounds (whale songs in Nuances II), passages in different tempos played simultaneously (Osservazioni II, Moto) and limited use of aleatory techniques. All of these elements are controlled by a strong intellect and by technical skills of the highest order. Many of his works have been recorded.
(Adapted from Gonzalez, Luis Jorge. "Analytical Study of the Symphonies by Robert Hall Lewis." DMA diss., Peabody Conservatory, 1977.)
0.24 Cubic Feet (1 half-size legal document box)
Language of Materials
Robert Hall Lewis was a composer who taught at the Peabody Institute from 1969 to 1980. This collection contains newspaper clippings and related publicity about Lewis, correspondence between Lewis and the Peabody Institute, two photocopies of the holograph for his String Quartet No. 4, and three musical sketches for his Symphony No. 4.
Immediate Source of Acquisition
This is an artifical collection with no known acquisition information. Clippings may have been gathered by the Peabody Institute Public Information Office.
Processed by Grace Minghsuan Tsai in 2016.
- Guide to the Peabody Institute Robert Hall Lewis collection
- Matt Testa
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- Describing Archives: A Content Standard
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