The Stephen 'Lucky' Mosko collection: 1963-2000. Harvard University Library: Online Archival Search Information System Ms. 140 The Stephen 'Lucky' Mosko collection: 1963-2000. Eda Kuhn Loeb Music Library, Harvard Library, Harvard University Harvard University, Cambridge MA 02138 © President and Fellows of Harvard College Location: Merritt Room Call No.: Ms. 140 Repository: Eda Kuhn Loeb Music Library, Harvard Library, Harvard University Title: The Stephen 'Lucky' Mosko collection, Date(s): 1963-2000. Quantity: 62 boxes Abstract: Papers and audiovisual collections of composer and conductor Stephen Lee 'Lucky' Mosko, including musical scores, audio and video recordings, correspondence, press and publicity materials, teaching materials, photographs and concert programs. Composer, conductor and professor Stephen 'Lucky' Mosko was born in Denver, Colorado on 7 December 1947.

After early training under conductor Antonia Brico, Mosko attended Yale University, where he studied music theory and composition under composer Mel Powell. After completing his bachelor's degree in 1969, Mosko began graduate study at Yale, but soon thereafter followed Powell to the California Institute for the Arts (CalArts). He received his M.F.A. From CalArts in 1972, at which time he immediately joined the CalArts Faculty, with which he remained affiliated until his death.

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Mosko compositions drew from a wide variety of techniques throughout his career, including graphic notation, chance operations (including use of the Chinese I Ching), and serialism. He received two Student Composition Awards from BMI (Lovely Mansions [1971] and Night of the Long Knives [1974]), as well as commissions from the Fromm Foundation (Superluminal Connections I: The Atu of Tahuti [1985] and String Quartet [1997]), the Los Angeles Philharmonic (The Road to Tiphareth [1986]) and the Sacramento Symphony (A Garden of Time [1989]).

As a conductor, Mosko's approach was governed by an openness to many different strains of 20th Century Music. In addition to his work with the CalArts affiliated Twentieth Century Players, he served as principal conductor of the San Francisco Contemporary Music Players (1988-97), Contemporary Chamber Players (1995-98), and Griffin Music Ensemble (1990-92) among other ensembles. Mosko's programming tended toward eclecticism, often juxtaposing a wide variety of music within a single evening's programming.

Mosko also worked occasionally in event production, including his most prominent position as music director for the Olympic Contemporary Music Festival organized with support for the Olympic Games in Los Angeles in 1984. In his later years, Mosko frequently collaboration with his wife Dorothy Stone, a flautist and co-founder of the group Califonia E.A.R. Aside from a brief visiting appointment at Harvard from 1990-91, Mosko remained on the faculty of CalArts until shortly before his death. Stephen Mosko died on Tuesday, December 6, 2005 of unknown causes. Scores • ___Subseries A: Scores by Mosko • ___Subseries B: Scores by Humphrey Evans III • ___Subseries C: Scores by Other Composers • ___Subseries D: Unidentified Scores and Sketches • Series II. Audiovisual Media • ___Subseries A: Audio Recordings • ___Subseries B: Video Recordings • ___Subseries C: Photographs • ___Subseries D: CDs and Digital Media • Series III.

Documents and Ephemera • ___Subseries A: Programs / Publicity • ___Subseries B: Correspondence, Teaching, Joe Metzler Manuscript • ___Subseries C: Iceland • ___Subseries D: College Documents • ___ Subseries E: Composer Notes • ___Subseries F: Press and Miscellaneous Documents • ___Subseries G: Postcards • ___Subseries H: Books, Diaries, Datebooks, Bound Material • ___Subseries I: Yearbooks, Notebooks,Diploma (Dorothy Stone) • ___Subseries J: Oversized Documents • ___Subseries K: Keepsakes, Ephemera. Materials in the collection were transferred to the Loeb Library directly by Mosko's surviving relatives in the late 2000s. The materials primarily include materials relating to Mosko's career as a composer, conductor and teacher of music. The recorded materials include much documentation of Mosko's own compositions, as well as extensive materials relating to his career as a conductor.

The latter gives deep insight into the work of contemporary classical performance in the U.S. During the second half of the 20th century. Programs, publicity, and correspondence with composers related to these performances are also preserved.