1. Pittsfield Eagle , 27 November 1931. The concert was part of a celebration honoring Coolidge on the occasion of her induction into the Légion d'honneur, for which she was nominated by Paul Claudel.

2. Coolidge had been an active member of several of Chicago's well-known women's clubs. She patterned her work in Pittsfield on that of the Settlement House in New York's Lower East Side and sought instructors who were employed there to help organize her work.

3. Persis Coleman was associated with Mills College in Oakland, and Coolidge often stayed with her when in California.

4. ESC to Persis Coleman, 12 January 1930, C. Cor.

5. ESC to Roy Harris, 26 July 1932, C. Cor.

6. Typescript fragment, C. Misc.

7. Frederic Coolidge's father, David Hill Coolidge, was a prominent Boston attorney and his brother Charles Allerton Coolidge became a renowned architect in the firm of H. H. Richardson.

8. Coolidge's son, Sprague, went on to become a distinguished professor of chemistry at Harvard after taking his Ph.D. there.

9. The Chicago Post , 18 January 1915, eulogized A. A. Sprague as "perhaps the most finely generous man in the generation of large-minded men who lifted Chicago up from a village to a great city." Sprague's conviction that men of means had an obligation to contribute generously to the common good thrust him into a leadership role in Chicago's Relief and Aid Society as well as numerous other charitable organizations. He became prominent in Chicago's commercial life as well as one of the organizers of the Northern Trust Co., served on the board of numerous corporations, and was a trustee of the Chicago Symphony, Rush Medical College, and the Art Institute.

10. Cited in Willliam Bedford. "Elizabeth Sprague Coolidge: The Making of a Patron" (Ph.D. diss., University of Missouri, 1964).

11. After A. A. Sprague formed a partnership with his brother, Otho Sylvester Sprague, and Ezra Warner, the firm became known as Sprague Warner, Inc.

12. Unidentified newspaper clipping, C. Misc. One of the plan's most remarkable features was the fact that the workers were never required to pay into it themselves.

13. On that occasion the gift was renamed "The Albert and Nancy Sprague Memorial Fund." Philo Adams Otis, The Chicago Symphony Orchestra: Its Organization, Growth, and Development, 1891-1924 (Chicago: Summy, 1925), 179-80.

14. Karleton Hackett, unidentified Chicago newspaper clipping, C. Misc.

15. ESC, letter to Fanny Glessner, 16 March 1915, Glessner journals, Chicago Historical Society, insert p. 183.

16. Not to be confused with the Sprague Home for Nurses of the Presbyterian Hospital of Chicago, which was built in 1912-13 with generous contributions from Otho and Albert Sprague. See Wholesale Grocer , June 1915, 12.

17. The money was given to the Pittsfield Anti-Tuberculosis Association, which Fred had helped to found, and the building was to be called the Frederic Shurtleff Coolidge Memorial Home.

18. See letters of Nicholas Murray Butler to ESC, 17 February and 1 March 1915, 3 April 1916, and 1 April 1918. C. Cor.

19. Nancy Sprague died before the building was completed. Of the $200,000 that she had given to Yale, $175,000 was designated for construction and, when the bids came in over that amount, Elizabeth supplied the additional $25,000 necessary.

20. Lucy Sprague Mitchell, letter to ESC, 15 April 1916. C. Cor. See also Joyce Antler, Lucy Sprague Mitchell: The Making of a Modern Woman (New Haven: Yale University Press, 1987), 218-20.

21. Berkshire Festivals of Chamber Music 1918-1938 (South Mountain, Mass.: privately printed, n.d.). Contains complete programs of the festivals.

22. Her determination to restrict her contributions exclusively to chamber music sometimes led to misunderstanding, as in the case of her refusal to contribute to the National Symphony even though her old friend Hans Kindler was the conductor and the request came from another good friend, Mary Howe, who had contributed generously to Elizabeth's work. In the end, Coolidge did give to the cause.

23. Hugo Kortschak, letter to ESC, May 1916. C. Cor.

24. There is evidence that she had already discussed the possibility of such an undertaking with her friend Edward De Coppet, founder of the Flonzaley Quartet. See ESC, letter to Hugo Kortschak, 10 May 1916. C. Cor.

25. Elizabeth Sprague Coolidge, Da Capo (Washington, D.C.: Coolidge Foundation, Library of Congress, 1952), 2.

26. Ibid., 3.

27. ESC, typescript of address at California Institute of Technology, 13 June, no year. C. Misc. Hereafter, "Cal. Tech."

28. Coolidge, Da Capo , 4.

29. "Cal Tech," 13.

30. For more complete treatment of Coolidge's friendship with Carl Engel, see Cyrilla Barr, "The 'Faerie Queene' and the 'Archangel': The Correspondence of Elizabeth Sprague Coolidge and Carl Engel," American Music 11 (1997): 159-82.

31. Of the nine works performed in the course of the three concerts, seven were either prize-winning compositions in the Berkshire Competition or were commissioned by Coolidge, and four of the seven composers represented were present in the audience.

32. She later increased the amount to $90,000.

33. The coincidence of names led to frequent and often amusing identification of Coolidge as the wife of the president. She delighted in referring to herself as "the other Mrs. Coolidge."

34. For example, Copland's Appalachian Spring , Stravinsky's Apollon Musagète , and Barber's Hermit Songs .

35. ESC to Richard Hale, 10 January 1925. C. Cor.

36. All concerts were public except the program at Gardone in D'Annunzio's villa, "La Vittoriale," which was given for a very few privileged guests.

37. Hindemith's journal, 11 April 1937, trans. Luther Noss, Yale University (typescript).

38. Carl Engel to ESC [14 April 1926]. C. Cor.

39. Alfredo Casella, Music in My Time , trans. and ed. Spencer Norton (Norman: University of Oklahoma Press, 1955), 162.

40. D'Annunzio later changed the name to Corporazione delle nuove musiche, and the society became the Italian wing of the International Society for Contemporary Music. On the importance of D'Annunzio's friendship with these composers and his role as their advocate with Mussolini, see Harvey Sachs, Music in Fascist Italy (London: Weidenfeld & Nicolson, 1987), and Fiamma Nicolodi, Musica e musicisti nel ventennio fascista (Fiesole: Discanto Edizioni, 1984).

41. See Alfredo Casella, "Corporazione delle Nuove Musiche," Christian Science Monitor , 20 June 1925. See also Casella to ESC, 13 July 1924. "Cette année pour agrandir notre champ d'action, nous donnerons aussi quelque[s] oeuvres anciennes. Par exemple, L'Orfeo de Monteverdi en représentation scenique, avec des décors modernes." C. Cor.

42. Casella, Music in My Time , 169.

43. For fuller treatment, see Cyrilla Barr, "The Musicological Legacy of Elizabeth Sprague Coolidge," Journal of Musicology 11 (1993): 250-68.

44. Edward MacDowell Memorial Association Inc. Reports , MacDowell Collection, box 72, MS Division, Library of Congress.

45. Marian MacDowell to ESC, 17 May [1924]. C. Misc.

46. She was instrumental in securing a position for Bloch at the Mannes School of Music, where she also guaranteed two-thirds of his salary, and she obtained the position for Milhaud at Mills College in Oakland.

47. See Coolidge's extensive correspondence with Carl Bricken, George Haight, and C. A. Dykstra, Pro Arte Collection, Division of Archives, University of Wisconsin, University of Wisconsin, Madison.

48. ESC to Thomas King, 16 September 1922. C. Cor.

49. Watson (née Cohn) was born in Breslau, Germany, in 1845, and settled in Chicago after her marriage to Dr. Louis H. Watson in 1874. Her studio on the south side of the city rivaled that of Amy Fay on the north. Among her greatest friends and ardent admirers was Teresa Carreño, who gave much of the credit for her career to Watson's influence. See Carreño letters, MacDowell Colony Papers, MS Division, Library of Congress, box 74.

50. Coolidge's compositions are all catalogued in the Library of Congress collection. Testimony of her diligence as a student of composition is contained in the reams of carefully worked out exercises preserved in C. Misc.

51. Casella, Music in My Time , 161.

52. ESC. Address to the American Federation of Music Clubs (undated typescript). C. Misc. Hereafter cited as Federation Paper.

53. See Barr, "Faerie Queene" on her disagreement with Carl Engel concerning the programming of American music. See also their letters on this subject in Vignette G.

54. ESC to Nicolas Moldavan, 20 January 1941. C. Cor.

55. ESC, Federation Paper.

56. ESC to Carl Engel, 7 February 1928. C. Cor.

57. ESC to Bruno David Ussher, 22 April 1937. C. Cor.

58. ESC to Carl Engel, 14 May 1932. C. Cor.

59. ESC, Federation Paper.

60. Walter Damrosch, My Musical Life (New York: Scribner, 1923), 94-95.

61. Washington Post , undated newspaper clipping. C. Cor.

62. ESC to Howard Hinners, 29 December 1937. C. Cor.

63. ESC to Juliet Noehren, 6 February 1944. C. Cor.

64. Daniel Gregory Mason, "Music Patronage as an Art," New Republic 4 (21 August 1915): 71.

65. Damrosch, My Musical Life , 94.

66. In addition, many of the composers with whom Coolidge was associated bequeathed their private papers and manuscripts to the Library of Congress.

67. ESC to Albert Arnold Sprague, [30 October 1904]. Insert in diary of Nancy Ann Atwood Sprague, Schlesinger Library, Radcliffe College, Cambridge, Mass.

68. Andrew W. Mellon, testimonial read to the Fifth Library of Congress Festival, 30 October 1931 (typescript). C. Misc.

1. Bibliothèque nationale, Département de la musique, N.L.a. 56, pièces 240-41. Translation by Jeanice Brooks.

2. The Blisses' commitment to these ideals was manifested not only in support for music and musicians. They donated Dumbarton Oaks to Harvard University in 1940 to found a research center for the study of medieval and Byzantine art and archaeology; Robert's collection of pre-Columbian art, formerly on loan to the Corcoran Gallery became the nucleus of the museum section of the mansion, along with Mildred's extensive gardening library. The 27-acre grounds were donated at the same time to the District of Columbia for use as a public park. These private donations were augmented by service on innumerable boards of various charities, arts organizations, and institutes of medical research. The remarkable music room has remained in use for concerts by chamber ensembles and noted soloists—see John Thacher, Music at Dumbarton Oaks, 1940 to 1970 (Glückstadt, Germany: privately printed, 1977).

3. Review by "E. E" in the Daily Post (Liverpool), 5 November 1938. Sir Jack Westrup's review in the Daily Telegraph (London), 5 November 1938, similarly states, "There was a new concerto by Stravinsky entitled 'Dumbarton Oaks' (the name of a house in California)." The anonymous Times (London) reviewer (7 November 1938) also thought Stravinsky was living in the house when the concerto was written.

4. The latter continued to be a problem in Bliss's relationship with Boulanger. A Janu- soft

ary 1942 letter (Bibliothèque nationale, N.L.a. 56, pièce 263) expresses Bliss's reluctance to take back a check she had written to Boulanger in order to write four new checks (totaling the same sum) to four of Boulanger's students. Bliss acquiesced to Boulanger's request, but insisted that Boulanger make it clear to the students that the money was a gift from their teacher and not from Bliss.

5. Beatrix Farrand was the landscape gardener who designed the grounds of Dumbarton Oaks with Mildred Bliss.