An intriguing group of original correspondence, about 33 letters (most typed ; most multi-page) and another dozen postcards all written by a Laurence R. Taylor (1937-2004) to a Charles Greenwell (1941-2020) from about 1956 to about 1965.

The two seem to have met as young men active in the classical music scene in Michigan in the mid-1950's and continued correspondence as Taylor pursued a PhD in music from the Eastman School in New York, studied under Nadia Boulanger in Paris in 1959, and eventually joined the London New Philharmonic Orchestra under Otto Klemperer in the mid-1960's. 

Greenwell was an oboist and aspiring conductor who later switched to voice and remained active in the Detroit Symphony for decades.

Taylor was a violinist who founded the graduate musicology program and Trenton State University and played in the Princeton Symphony Orchestra for 20 years

Contents are generously shown here and I am happy to provide further images, answer questions, etc... upon request. Thanks for looking. FREE shipping via USPS Ground. 

This is a fantastic group of correspondence. A couple of transcribed passages from the letters:

"To describe the summer is all but impossible. It was dominated (and dominate is a feeble word to employ!) by the phenomenal intellect, humanity, bristling energy, and benevolent tyranny of one person: Nadia Boulanger. There were composition lessons, master classes in every aspect of music and musicianship, a marvelous class in which (with the aid of a quartet in residence that had the touch job of making music sound as well on the original instruments ass played by Boulanger on the piano) we dug into as many of the 83 quartets of Haydn as time would permit. This was a voyage of discovery for all of us. During a ten day absence of Boulanger, John and I took off for Bayreuth, where we attended a radiant performance of Die Meistersinger...then to Vienna for eight days, the first three of which overlapped with the final days of the Communist World Youth Festival - a staggering experience, particularly seeing what the anticommunist Austrian outh themselves were doing (as members of a country having no more people than Michigan!) to counteract the propaganda - and with striking results. Visits to the Iron Curtain of Hungary (standing for a few minutes within Hungarian soil), attending a concert given by the Soviet delegation which all but for a few details gave a faithful representation of a concert in USSR itself...a one and one-half hour chat (in broken German!) with a Russian delegate! Then back to Paris for the final weeks of school, culminating in performances of the Faure Requiem (which we studied and rehearsed with Boulanger - pupil of Faure herself) and of Bach's Christ Lag in Todesbander in German...had the first movement of my Szmphonz for 14 instruments performed in a 2-piano arrangement by Jon and I on the final concert. [...] Jon and I attended a Vaughan Williams concert, afterwhich Jon and I had a joyous reunion with Mrs. VW - I've forgotten to mention that while in London we had a marvelous two hour visit with the widow of this great composer...having the rare chance to mull over some of his very manuscripts. (26 October 1959 ; Goethe Institute, Oberbayern Germany)

"Boulez came to town in March. For THREE WEEKS I sat 8 hours a day listening to him conduct such things as Schubert Nos. 4, 5, 6, Mozart Adagio and Fugue, Beethoven 4th with Curzoon, Chopin No. 2 with Ashkenazy, Bach Ricercare from Musical Offering (Webern version), Schoenbert Op. 22 songs, Webern Op. 6 pieces (ah!), Webern Variations, DeBusy La Mer, Debussy Images (complete), Debussy Jeux Eaux. I followed his OWN scores in some cases, got to know him, etc. At three of the rehearsals I sat beside OTTO KLEMPERER - an indication not onlly of Boulez's stature as a composer but as a conductor - he is absolutely the finest musician I have ever seen in action, only Stravinsky and Britten occupy the same territory. I shared my scores with Klemperer - Christ! Such an experience." (London ; 14 May 1964)