December 1935)

Total Page:16

File Type:pdf, Size:1020Kb

December 1935) Gardner-Webb University Digital Commons @ Gardner-Webb University The Etude Magazine: 1883-1957 John R. Dover Memorial Library 12-1-1935 Volume 53, Number 12 (December 1935) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 53, Number 12 (December 1935)." , (1935). https://digitalcommons.gardner-webb.edu/etude/54 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The Etude Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE ty^usic ffhCagazine -f Si-lent ni^ht! /.Ho — ly ni^ht! ^ * . t V ■f r '• ■f J V' *' - i . •• • » » • • » * 4 • * • • * ** * i * " • ' . ^ • V • • • • ♦ , ^ 4 * • • I .' - . ■ • • • '•• • ; > I s (^(yI■ '■ ' / fl m / December 1935 PriceD- 25^ Cents^ Editor THE ETUDE JAMES FRANCIS COOKE Associate Editor Published Monthly EDWARD ELLSWORTH By HIPSHER THEODORE PRESSER CO. Music Magazine 1712 Chestnut Street A MONTHLY JOURNAL FOR TEACHERS, STUDENTS AND ALL LOVERS OF MUSIC PHILADELPHIA, PENNA. Vol. LIII No. 12 • DECEMBER, 1935 The World of Music Interesting and Important Items Gleaned in a Constant Watch on Happenings and Activities Pertaining to Things Musical Everywhere MEXICO CITY has a “DIE SCHWEIGSAME FRAU (The Silent THE JOHANNESBURG MUSICAL SO¬ THE NEW “RHUMBA , government owned Con¬ Woman),” a comedy opera by Richard CIETY (South Africa) recently gave a pro¬ SYMPHONY” of Harl ej:/ , ' servatory of Music with an Strauss, with its libretto based on Ben Jon- gram of sonatas for violin and piano, which McDonald of Philadelphia, V* ^ / enrollment of more than son’s play, “Epicoene, or, The Silent Woman,” included the “Sonata in D Minor” of Brahms, had its world premiere Estanilas six hundred students. Tu- had its first performance on any stage when “Sonata for Violin and Piano” by Debussy when played on the open- Haul MEJIA ition is free to all talented given on June 24th, as the opening event of (his only one), and “Sonata, Op. 18” by ing program of the present McDonald musicians, and the activities of the institution this year’s Opera Festival at Dresden. The Gabriel Faure. season of the Philadelphia Orchestra with date from 1868. Estanilas Mejia is the direc¬ composer was present as guest and Dr. Karl Leopold Stokowski conducting. The third tor, and the conservatory organizes opera and Bohm conducted. THE COUNCIL AND DIRECTORS of movement (the Rhumba) stirred such enthu¬ ballet performances as well as orchestral con¬ •a-1> the National Federation of Music Clubs met siasm that the audience burst into applause certs, so that students have an active part in MAURICE EISENBERG is a young at Denver, from September tenth to fifteenth, at its close, and Dr. Stokowski left the stage the artistic development of the nation. violoncellist who has been winning a remark¬ at which time the president, Mrs. John Alex¬ to bring the composer on to receive an ova¬ able success and following in Paris, where he ander Jardine, of Fargo, North Dakota, an¬ tion. The conductor then genially broke his THE CINCINNATI SYMPHONY OR¬ plays frequently as soloist, is a member of the nounced as the Program Committee of the habit of reprimanding unnecessary noise¬ CHESTRA, with Eugene Goossens conduct¬ Yehudi Menuhin Quartet, and is a professor Twentieth Biennial Convention, for 1937, in making by complimenting the assembly on ing, is offering this season to its regular in the Ecole Normale de Musique. Louisville, Kentucky: Mrs. Howland Car- “breaking all the rules,” and later reminding subscription audiences, performances of roll Day, of Albert Lea, Minnesota, Chair¬ THE SAN CARLO OPERA ^COMPANY them that “once upon a time, when the Phila¬ Wagner’s “Die Walkiire,” “Die Meistersinger,” man; Mrs. William Hoyt Raymond, Bowling delphia Orchestra was playing Bach music, “Tannhauser” and “Tristan and Isolde,” with of Fortune Callo opened on October 14th a Green, Kentucky, Vice-Chairman; with Mrs. three week season at the famous Auditorium back in the seventeenth century, your great - the chorus and minor roles provided by local Edward Philip Linch of Philadelphia; Mrs. great-grandfathers applauded at the wrong of Chicago, with a performance of “Aida,” of Vincent Ober of Norfolk, Virginia; and Mrs. which the cast included Cyrena Van Gordon, Edward Zoll of Colorado Springs, as other ONE HUNDRED THOUSAND PEOPLE Bianca Saroya, Aroldo Lindi and Mostyn members. listened to a post-season concert, of the sum¬ Thomas. Other works in the repertoire were SOFIA, BULGARIA, with a population of mer series in Grant Park, Chicago, in which “Madame Butterfly” with Hitzi Koyke in THE PHILHARMONIC ORCHESTRA three hundred and fifty thousand, supports the Chicago Symphony Orchestra, the Chi¬ the title role, “Lohengrin,” “Carmen,” “Rigo- of Berlin has for its present season Wilhelm a grand opera company with one hundred cago Opera Orchestra and the Women’s Sym¬ letto,” “Faust,” “II Trovatore,” “Cavalleria Furtwangler as regular conductor of six of and fifty-seven singers, choristers, dancers phony Orchestra played under the baton of Rusticana” and “I Pagliacci.” Prices ranged the grand concerts, with Hermann Abend- and instrumentalists, and with four conduc¬ Dr. Frederick Stock. The orchestra of two from twenty-five cents to one dollar, with roth, Ernest Ansermet, Sir Thomas Beecham, tors. It has also two symphony orchestras. hundred and twenty musicians aroused such box seats at two dollars. One way to make Willem Mengelberg and Victor de Sabata as enthusiasm that the program was repeated opera popular! guest conductors. KARLETON HACKETT, onf of the most on Wednesday of the following week, when distinguished voice teachers and music critics the audience was equally large. Chicago CARL LODEWIJK WILLEM WIRTZ, MARY McCORMIC has announced that, of the Middle West, died in Chicago, on Octo¬ knows how to do big things in a big way. dean of Dutch pianists, has died at Breda, following the five week season of the Chicago ber 7th, on the eve of his sixty-eighth birth¬ Holland, at the age of ninety-four. Born at City Opera Company, she will present her day. Mr. Hackett studied with the greatest THE WANAMAKER ORGAN of Phila¬ The Hague, of a German father and Dutch own troupe in a series of performances at teachers of Milan, Florence, London and delphia, long known as the world's largest mother, he was long a leader of the musical the Auditorium in a repertoire of standard Munich; and later he achieved fame as a organ, has had but one “keeper,” George W. life of his country and among his friends operas in English, which she will later take teacher of leading American singers. His Till, to whom John Wanamaker gave the could count Brahms, Ysaye and Sarasate. on tour. Which reads like the eighteen- whole professional life was devoted to Chi¬ commission to purchase and move to “Penn’s •<J-»• eighties when Emma Abbott, Clara Louise cago, and the entire community is greatly in Towne” the original instrument built for the COPENHAGEN, DENMARK, boasts Kellogg and Emma Juch were at the head his debt for a so sane guidance in musical St. Louis Exposition of 1904. Its perfection three symphony orchestras: the Philharmonic of their own organizations; and may Miss thought. He was president of the American became a recreation and passion of the mer¬ Orchestra, with S. Petersen leading; the or¬ McCormic be as successful as were those Conservatory, founded by John J. Hatt- chant prince, till numerous additions and im¬ chestra of the Royal Theater; and the Radio intrepid bygone songsters. staedt; and our last issue announced his elec¬ provements brought it to the present size Orchestra, developed by Kammersanger Emil tion to the presidency of the newly formed with four hundred and fifty-one speaking Holm, (‘Grand Old Man of Danish Broad¬ ACCORDIONS, MANDOLINS, guitars, Chicago City Opera Company, for opera was casting. The Royal Theater is celebrating and other small musical instruments, are withroith him almost „ passion. •its one hundred and fiftieth birthday with a again coming into their own, if reports from FRANCIS WILSON, revival of the first Danish opera, Naumann’s many quarters are to be accepted. A healthy THE BACH FESTIVAL, organized at light opera singing com “Orpheus and Euridice.” revival of the vogue of these amateur organi¬ Leipzig by the German Government, left a dian star of the first mag- zations of some decades ago would lend a comforting surplus in the treasury, which nitude, in that brilliant THE PHILADELPHIA ORCHESTRA, fine stimulus to America’s musical life. amount has been added to a fund for a Wag- constellation which lighted with Leopold Stokowski conducting, an¬ r monument in that city. the musical annals of the nounces a transcontinental spring tour of CHARLES WAKEFIELD CADMAN, five weeks, the first in the history of this often mentioned as “the most American of our DE WOLF HOPPER, last quarter of the eighteen one of the brightest star hundreds, answered his last organization and the first in many years, for composers,” has written a fantasy, “Dark a symphony orchestra of the major type. It Dancers of the Mardi Gras” for orchestra, comedians produced by the “call” on October 7th, in light opera vogue of the New York. Born on Feb- will visit all the more important cities of the with the piano as a featured instrument. Fkancis ruary 7, 18S4, in Philadel¬ United States and parts of Canada. Among the organizations which have given last decades of the last it performance, with the composer at the century, left permanently phia, his career began with FREDERIC HYMEN COWEN, eminent a minstrel troupe in the early seventies; in piano, are: Detroit Symphony Orchestra, the stage of life on Septem¬ British composer and conductor, died on Milwaukee Symphony Orchestra, Rochester ber 23rd.
Recommended publications
  • 1785-1998 September 1998
    THE EVOLUTION OF THE BROADWOOD GRAND PIANO 1785-1998 by Alastair Laurence DPhil. University of York Department of Music September 1998 Broadwood Grand Piano of 1801 (Finchcocks Collection, Goudhurst, Kent) Abstract: The Evolution of the Broadwood Grand Piano, 1785-1998 This dissertation describes the way in which one company's product - the grand piano - evolved over a period of two hundred and thirteen years. The account begins by tracing the origins of the English grand, then proceeds with a description of the earliest surviving models by Broadwood, dating from the late eighteenth century. Next follows an examination of John Broadwood and Sons' piano production methods in London during the early nineteenth century, and the transition from small-scale workshop to large factory is noted. The dissertation then proceeds to record in detail the many small changes to grand design which took place as the nineteenth century progressed, ranging from the extension of the keyboard compass, to the introduction of novel technical features such as the famous Broadwood barless steel frame. The dissertation concludes by charting the survival of the Broadwood grand piano since 1914, and records the numerous difficulties which have faced the long-established company during the present century. The unique feature of this dissertation is the way in which much of the information it contains has been collected as a result of the writer's own practical involvement in piano making, tuning and restoring over a period of thirty years; he has had the opportunity to examine many different kinds of Broadwood grand from a variety of historical periods.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season
    // BOSTON T /?, SYMPHONY ORCHESTRA THURSDAY B SERIES EIGHTY-SEVENTH SEASON 1967-1968 wgm _«9M wsBt Exquisite Sound From the palace of ancient Egyp to the concert hal of our moder cities, the wondroi music of the harp hi compelled attentio from all peoples and a countries. Through th passage of time man changes have been mac in the original design. Tl early instruments shown i drawings on the tomb < Rameses II (1292-1225 B.C were richly decorated bv lacked the fore-pillar. Lato the "Kinner" developed by tl Hebrews took the form as m know it today. The pedal hai was invented about 1720 by Bavarian named Hochbrucker an through this ingenious device it b came possible to play in eight maj< and five minor scales complete. Tods the harp is an important and familij instrument providing the "Exquisi* Sound" and special effects so importai to modern orchestration and arrang ment. The certainty of change mak< necessary a continuous review of yoi insurance protection. We welcome tl opportunity of providing this service f< your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SEVENTH SEASON 1967-1968 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. HENRY B. CABOT President TALCOTT M. BANKS Vice-President JOHN L. THORNDIKE Treasurer PHILIP K. ALLEN E. MORTON JENNINGS JR ABRAM BERKOWITZ EDWARD M. KENNEDY THEODORE P.
    [Show full text]
  • Elektra at San Francisco Opera Encore
    Turandot 2017 cover.qxp_Layout 1 8/23/17 9:17 AM Page 1 2017–18 SEASON GIACOMO PUCCINI WHO YOU WORK WITH MATTERS Consistently ranked one of the top 25 producers at Sotheby’s International Realty nationally, Neill Bassi has sold over $133 million in San Francisco this year. SELECT 2017 SALES Address Sale Price % of Asking Representation 3540 Jackson Street* $15,000,000 100% Buyer 3515 Pacific Avenue $10,350,000 150% Seller 3383 Pacific Avenue $10,225,000 85% Buyer 1070 Green Street #1501 $7,500,000 101% Seller 89 Belgrave Avenue* $7,500,000 100% Seller 1164 Fulton Street $7,350,000 101% Seller 2545-2547 Lyon Street* $6,980,000 103% Seller 3041 Divisadero Street $5,740,000 118% Seller 2424 Buchanan Street $5,650,000 94% Buyer 3984 20th Street $4,998,000 108% Seller 1513 Cole Street $4,250,000 108% Seller 1645 Pacific Avenue #4G* $2,750,000 97% Buyer *Sold off market NOW ACCEPTING SPRING 2018 LISTINGS Request a confidential valuation to find out how much your home might yield when marketed by Neill Bassi and Sotheby’s International Realty. NEILL BASSI Associate Broker 415.296.2233 [email protected] | neillbassi.com “Alamo Square Victorian Sale CalBRE#1883478 Breaks Neighborhood Record” Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, CURBED Inc. Real estate agents affiliated with Sotheby’s International Realty, Inc. are independent contractor sales associates and are not employees of Sotheby’s International Realty, Inc.
    [Show full text]
  • A Harpsichord Odyssey
    A Harpsichord Odyssey (II) by Edgar Hunt Major Benton Fletcher had acquired Old Devonshire House in 1934 when it was in a very poor state, cleaned it up, stripping off several coats of wall paper and plaster to reveal the original wood panelling, and made it a fit home for his collections. Built in the seventeenth century, it had been the town house of the Cavendish family, one of whom once rode his horse up the broad staircase for a wager. Now it was to provide the perfect setting for the Major's collection of early keyboard instruments and antique furniture. The Major himself, besides having been a soldier (he served in the Boer War and World War I), an egyptologist who had worked with Flinders Petrie and an artist (among other things he illustrated Braybrook's Pepys* Diary for Dent), had built up a collection of The first floor 'Great Chamber'. harpsichords and other early keyboard Old Devonshire House. (Photo: Country Life) instruments as he feared lest their tone quality instruments to be available for concerts (one might otherwise be lost to future generations. was regularly used for Bach performances at He strongly disapproved of the way the Westminster Abbey) and for students to modern harpsichord was going, with its metal practice on at 6d (=2ip) an hour. A Mr Irwin frame, row of pedals and lack of sonority, and Hinchliffe ARCM, who helped with the wanted his restoration and maintenance of his harpsichords, was available to teach, and Mrs Frances Jackson, his housekeeper, acted as curator. But the Major also wanted Old Devonshire House to become a centre for early music where anyone interested could also study the viola da gamba or recorder and join in ensembles with harpsichord continue.
    [Show full text]
  • Kalendár Výročí
    Č KALENDÁR VÝROČÍ 2010 H U D B A Zostavila Mgr. Dana Drličková Bratislava 2009 Pouţité skratky: n. = narodil sa u. = umrel výr.n. = výročie narodenia výr.ú. = výročie úmrtia 3 Ú v o d 6.9.2007 oznámili svetové agentúry, ţe zomrel Luciano Pavarotti. A hudobný svet stŕpol… Muţ, ktorý sa narodil ako syn pekára a zomrel ako hudobná superstar. Muţ, ktorého svetová popularita nepramenila len z jeho výnimočného tenoru, za ktorý si vyslúţil označenie „kráľ vysokého cé“. Jeho zásluhou sa opera ako okrajový ţáner predrala do povedomia miliónov poslucháčov. Exkluzívny svet klasickej hudby priblíţil širokému publiku vystúpeniami v športových halách, účinkovaním s osobnosťami popmusik, či rocku a charitatívnymi koncertami. Spieval takmer výhradne taliansky repertoár, debutoval roku 1961 v úlohe Rudolfa v Pucciniho Bohéme na scéne Teatro Municipal v Reggio Emilia. Jeho ľudská tvár otvárala srdcia poslucháčov: bol milovníkom dobrého jedla, futbalu, koní, pekného oblečenia a tieţ obstojný maliar. Bol poverčivý – musel mať na vystú- peniach vţdy bielu vreckovku v ruke a zahnutý klinec vo vrecku. V nastupujúcom roku by sa bol doţil 75. narodenín. Luciano Pavarotti patrí medzi najväčších tenoristov všetkých čias a je jednou z mnohých osobností, ktorých výročia si budeme v roku 2010 pripomínať. Nedá sa v úvode venovať detailnejšie ţiadnemu z nich, to ani nie je cieľom tejto publikácie. Ţivoty mnohých pripomínajú román, ľudské vlastnosti snúbiace sa s géniom talentu, nie vţdy v ideálnom pomere. Ale to je uţ úlohou muzikológov, či licenciou spisovateľov, spracovať osudy osobností hudby aj z tých, zdanlivo odvrátených stránok pohľadu ... V predkladanom Kalendári výročí uţ tradične upozorňujeme na výročia narodenia či úmrtia hudobných osobností : hudobných skladateľov, dirigentov, interprétov, teoretikov, pedagógov, muzikológov, nástrojárov, folkloristov a ďalších.
    [Show full text]
  • Le Corsaire Overture, Op. 21
    Any time Joshua Bell makes an appearance, it’s guaranteed to be impressive! I can’t wait to hear him perform the monumental Brahms Violin Concerto alongside some fireworks for the orchestra. It’s a don’t-miss evening! EMILY GLOVER, NCS VIOLIN Le Corsaire Overture, Op. 21 HECTOR BERLIOZ BORN December 11, 1803, in Côte-Saint-André, France; died March 8, 1869, in Paris PREMIERE Composed 1844, revised before 1852; first performance January 19, 1845, in Paris, conducted by the composer OVERVIEW The Random House Dictionary defines “corsair” both as “a pirate” and as “a ship used for piracy.” Berlioz encountered one of the former on a wild, stormy sea voyage in 1831 from Marseilles to Livorno, on his way to install himself in Rome as winner of the Prix de Rome. The grizzled old buccaneer claimed to be a Venetian seaman who had piloted the ship of Lord Byron during the poet’s adventures in the Adriatic and the Greek archipelago, and his fantastic tales helped the young composer keep his mind off the danger aboard the tossing vessel. They landed safely, but the experience of that storm and the image of Lord Byron painted by the corsair stayed with him. When Berlioz arrived in Rome, he immersed himself in Byron’s poem The Corsair, reading much of it in, of all places, St. Peter’s Basilica. “During the fierce summer heat I spent whole days there ... drinking in that burning poetry,” he wrote in his Memoirs. It was also at that time that word reached him that his fiancée in Paris, Camile Moke, had thrown him over in favor of another suitor.
    [Show full text]
  • Trevor Pinnock Journey
    TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music ANTONIO DE CABEZÓN (c.1510–1566) GIROLAMO FRESCOBALdi (1583–1643) 1. Diferencias sobre 15. Toccata nona ................................ 4:32 ‘El canto del caballero’ .................. 3:10 16. Balletto primo e secondo .............. 5:39 from Toccate d’intavolatura di cimbalo et WILLIAM BYRD (c.1540–1623) organo,1637 2. The Carman’s Whistle .................. 3:58 GEORGE FRIDERIC HAndel (1685–1759) THOMAS TaLLIS (c.1505–1585) 17. Chaconne in G major, HWV 435 ... 6:36 3. O ye tender babes ........................ 2:37 DOMENICO SCARLAtti (1685–1757) JOHN Bull (1562/3–1628) Three Sonatas in D major, K. 490–92 4. The King’s Hunt ............................ 3:25 18. Sonata, K. 490: Cantabile ............ 5:02 JAN PIETERSZOON SWEELINCK 19. Sonata, K. 491: Allegro ................ 4:57 (1562–1621) 20. Sonata, K. 492: Presto ................. 4:17 5. Variations on ‘Mein junges Leben hat ein End’, SwWV 324 .............. 6:10 Total Running Time: 68 minutes JOHANN SEBASTIAN BACh (1685–1750) French Suite No. 6 in E major, BWV 817 6. Prélude ......................................... 1:31 7. Allemande .................................... 3:28 8. Courante ...................................... 1:47 9. Sarabande ................................... 3:22 10. Gavotte ........................................ 1:07 11. Polonaise ...................................... 1:20 12. Bourrée ........................................ 1:41 13.
    [Show full text]
  • Sampling the Past: a Tactile Approach to Interactive Musical Instrument Exhibits in the Heritage Sector
    KES Transactions on Innovation in Music: Vol 1 No 1 Special Edition - Innovation in Music 2013 : pp.110-125 : Paper im13bk-011 Sampling the past: A tactile approach to interactive musical instrument exhibits in the heritage sector Dr Kenneth B. McAlpine School of Arts, Media and Computer Games, University of Abertay Dundee, DD1 1HG, UK [email protected] 1. Abstract In the last decade, the heritage sector has had to adapt to a shifting cultural landscape of public expectations and attitudes towards ownership and intellectual property. One way it has done this is to focus on each visitor’s encounter and provide them with a sense of experiential authenticity. There is a clear desire by the public to engage with music collections in this way, and a sound museological rationale for providing such access, but the approach raises particular curatorial problems, specifically how do we meaningfully balance access with the duty to preserve objects for future generations? This paper charts the development of one such project. Based at Fenton House in Hampstead, and running since 2008, the project seeks to model digitally the keyboard instruments in the Benton Fletcher Collection and provide a dedicated interactive exhibit, which allows visitors to view all of the instruments in situ, and then play them through a custom-built two-manual MIDI controller with touch- screen interface. We discuss the approach to modelling, which uses high-definition sampling, and highlight the strengths and weaknesses of the exhibit as it currently stands, with particular focus on its key shortcoming: at present, there is no way to effectively model the key feel of a historic keyboard instrument.
    [Show full text]
  • Amalie Joachim's 1892 American Tour
    Volume XXXV, Number 1 Spring 2017 Amalie Joachim’s 1892 American Tour By the 1890s, American audiences had grown accustomed to the tours of major European artists, and the successes of Jenny Lind and Anton Rubinstein created high expectations for the performers who came after them. Amalie Joachim toured from March to May of 1892, during the same months as Paderewski, Edward Lloyd, and George and Lillian Henschel.1 Although scholars have explored the tours of artists such as Hans von Bülow and Rubinstein, Joachim’s tour has gone largely unnoticed. Beatrix Borchard, Joachim’s biographer, has used privately held family letters to chronicle some of Joachim’s own responses to the tour, as well as a sampling of the reviews of the performer’s New York appearances. She does not provide complete details of Joachim’s itinerary, however, or performances outside of New York. Although Borchard notes that Villa Whitney White traveled with Joachim and that the two performed duets, she did not realize that White was an American student of Joachim who significantly influenced the tour.2 The women’s activities, however, can be traced through reviews and advertisements in newspapers and music journals, as well as brief descriptions in college yearbooks. These sources include the places Joachim performed, her repertoire, and descriptions of the condition of her voice and health. Most of Joachim’s performances were in and around Boston. During some of her time in this city, she stayed with her Amalie Joachim, portrait given to Clara Kathleen Rogers. friend, the former opera singer Clara Kathleen Rogers.
    [Show full text]
  • Albuquerque Morning Journal, 04-24-1922 Journal Publishing Company
    University of New Mexico UNM Digital Repository Albuquerque Morning Journal 1908-1921 New Mexico Historical Newspapers 4-24-1922 Albuquerque Morning Journal, 04-24-1922 Journal Publishing Company Follow this and additional works at: https://digitalrepository.unm.edu/abq_mj_news Recommended Citation Journal Publishing Company. "Albuquerque Morning Journal, 04-24-1922." (1922). https://digitalrepository.unm.edu/ abq_mj_news/545 This Newspaper is brought to you for free and open access by the New Mexico Historical Newspapers at UNM Digital Repository. It has been accepted for inclusion in Albuquerque Morning Journal 1908-1921 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. CITY CITY EDITION ALBUQUEILGUE ING EDITION ronry.THiRD year. 1922. Duily by Carrier or Mall, 85c a Month VOL. CLXX11I. No. 21. Albuquerque, New Mexico, Monday, April 24, ' Single Copies 60 MARY RESIGNS COAL STRIKE IS LAD! ASIOB IS IS DEAD VICE PRESIDENT Thirteen Senate Leaders Face IN LEADERSHIP OF OPERA COMPANY ALONG GUEST OF HONOR Bitter Battles to Retain Seats 2 OTHERS HURT 0 OTHERS AR E (By The AMiirlnlrd l'rM.) Chicago. April 3. Mary AT ft RECEPTION IN BATTLE Garden announced tonight L FAS her retirement ns director OF III Gl general of the Chicago firnnd 1 1ms Opera company, which she One the Viscount- An Boot- held for the ptist year. S For Every House of Alleged "T am an artist and I have FIRE ess Has a Bright Greet- Near Los Angeles decided that my plate is with H0TEJJ! legger the artists, not over them," she ing or a Witty Remark; Is Raided By a Band of declured in a stntement which Efforts to Get Non-organi- was taken as an Indication that Six Hundred Guests Are Talks of Jlhildhood Days.
    [Show full text]
  • Christmann, Francis 2011-11-03 Transcript
    Oral History Interview of Francis Christmann Interviewed by: Elissa Stroman November 3, 2011 Lubbock, Texas Part of the: Women’s History Initiative Texas Tech University’s Southwest Collection/Special Collections Library, Oral History Program Copyright and Usage Information: An oral history release form was signed by Delbert Trew on November 3, 2011. This transfers all rights of this interview to the Southwest Collection/Special Collections Library, Texas Tech University. This oral history transcript is protected by U.S. copyright law. By viewing this document, the researcher agrees to abide by the fair use standards of U.S. Copyright Law (1976) and its amendments. This interview may be used for educational and other non-commercial purposes only. Any reproduction or transmission of this protected item beyond fair use requires the written and explicit permission of the Southwest Collection. Please contact Southwest Collection Reference staff for further information. Preferred Citation for this Document: Christmann, Francis Oral History Interview, November 3, 2011. Interview by Elissa Stroman, Online Transcription, Southwest Collection/Special Collections Library. URL of PDF, date accessed. The Southwest Collection/Special Collections Library houses almost 6000 oral history interviews dating back to the late 1940s. The historians who conduct these interviews seek to uncover the personal narratives of individuals living on the South Plains and beyond. These interviews should be considered a primary source document that does not implicate the final verified narrative of any event. These are recollections dependent upon an individual’s memory and experiences. The views expressed in these interviews are those only of the people speaking and do not reflect the views of the Southwest Collection or Texas Tech University.
    [Show full text]
  • VAUGHAN WILLIAMS Willow-Wood the Sons of Light Toward the Unknown Region Five Variants of Dives and Lazarus
    557798bk VW US 14/9/05 3:51 pm Page 12 VAUGHAN WILLIAMS Willow-Wood The Sons of Light Toward the Unknown Region Five Variants of Dives and Lazarus Roderick Williams, Baritone Royal Liverpool Philharmonic Choir and Orchestra David Lloyd-Jones 557798bk VW US 14/9/05 3:51 pm Page 2 Ralph Vaughan Williams (1872–1958) from the deep thought wherein he slept Light shall be light for ever and the darkness night, Willow-Wood • Toward the Unknown Region • The Sons of Light still two days younger than the morning star. Man shall awake and speak their names aloud This is the morning of the sons of light, and set a name on fire and wind and cloud The poems of the American Walt Whitman (1819-1892) into his score when he looks to the psalm tune Sine rejoice because they start upon their way; from whence all living creatures take delight. were published in Leaves of Grass, a collected works Nomine ‘and reaches a blazing climax in the final bars, singing they go, each clothed in his own day, Rejoice, man .stands among the sons of light. which in successive editions over 35 years from 1855 emblematic of the ultimate triumph of the soul’s destiny’. their orbits span the terrors of the height, added new poems at each appearance. Vaughan Williams The cantata Willow-Wood for baritone, women’s swifter than wind, as swift as thought, their flight. may have been first introduced to Whitman by his teacher voices and orchestra first appeared as a scena for baritone Stanford, who in his pioneering Elegiac Ode of 1884 had and piano in March 1903 when it was sung by Campbell Sing and rejoice, vast darkness, that you share been the first significant British composer to respond to McInnes in a concert at St James’s Hall, Piccadilly.
    [Show full text]