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UCC Library now Re-opened.

Both Boole and Brookfield BHSL Libraries have re-opened with the safety of Library users and staff as our chief guiding principle.

Please see our policies and important changes regarding re-opening here

Update from our Director of Library Services, Colette McKenna regarding Library Services During COVID Level 5 - Here

Samuel Lopes Salzedo Collection: Item Descriptions

Samuel Lopes Salzedo Collection: Item Descriptions

The Samuel Lopes Salzedo Collection has been fully catalogued and is listed below.

If you find material relevant to your research, please note the call number(s) and click here to arrange an appointment to visit.

1.   3 Nov 1930

Typed letter on headed notepaper from George Bernard Shaw (Author & Playwright), 4 Whitehall Court (130), London, to Samuel Salzedo, 48 Darenth Road, Stamford Hill, N.16, in which he concurs with Salzedo on the meaning of the term curvilinear universe “that bodies when changing their place in space do not take the shortest path but travel parabolically {sic}”. He also gives his opinion on what space is “we cannot conceive if as either limited or unlimited…” but concludes he does not have time at the present to give more thought on it. Letter signed by Shaw.   

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2.    2 Oct 1946

Typed letter on headed notepaper from George Bernard Shaw (Author & Playwright), 4 Whitehall Court (130), London, to Samuel Salzedo, 93-94 Chancery Lane, London in which he enthusiastically writes about Salzedo’s interest in Paganini and Shaw’s opinions on violin virtuosos – Sivori, Ole Bull, Eugène Ysaÿe, Joachim, Sarasate, Kreisler, Heifetz and Menuhin. He raises the issue of suggestions of “out of tune” playing or singing but Shaw admits to eventually hearing the subtle differences of southern and German scales. He also praises the singing of Marie Lloyd, Bessie Bellwood and others who rather than “owed their popularity to their horribly vulgar jocularity and the silliness in their songs…their real attraction was that they sang absolutely dead in tune and made you want to dance to the perfection of their rhythm.” He also writes that Ole Bull and Nicholson (flautist) both ‘tampered’ with their instruments to make their own unique sound. He finishes asking if the war enriched interpreters or did Salzedo “fall back on your fiddle?”. Mss corrections to typing and letter signed by Shaw. 

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