DOCSLIB.ORG

The Orchestra. De- Velopment Follows, Almost Entirely Constructed, It Should Be Observed, in Three-Bar Rhythm: No, 17

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Orchestra. De- Velopment Follows, Almost Entirely Constructed, It Should Be Observed, in Three-Bar Rhythm: No, 17 [".Mctal. ] EIGHTH BIENNIAL MUSIC FESTIVAL, AT CINCINN A TI, MAY 22, 23, 24, 25 AND 26, 1888. THEODORE THOMAS, MUSICAL DIRECTOR. PUBLISHED AND SOLD BY THE FESTIVAL ASSOCIA TION ~ 1888. COPYRIGHTED, 1888, By THE CINCINNATI MUSICAL FESTIVAL ASSOCIATION. ALDINE PRINTING WORKS. Board of Directors. WILLIAM N. HOBART, President. LAWRENCE MAXWELL, JR., Vice- President. ROBERT B. BOWLER, JOHN CHURCH, EDWARD RA'VSON, CHAS. P. TAFT, ALBERT H. CHATFIELD, JULIUS DEXTER, A. E. BURKHARDT. H. T. LOOMIS, Secretary . ., .) MEMBERS OF THE FESTIVAL ASSOCIATION 4.-ND CON­ TRIBUTORS TO THE FUND FOR THE MAIN­ TENANCE OF THE CHORUS. W. P. ANDERSON, H. P. LLOYD, MRS. LOUISE N. ANDERSON, LAWRENCE MAXWELL, JR., F. H. ALMS, ARTHUR MEES, R. B. BOWLER, ALEXANDER McDoNALD, A. E. BURKHARD'f, JAMES McDoNALD, D. H. BALDWIN & CO., ROBERT MITCHELL, A. H. CHATFIELD, PETER RUDOLPH NEFF, THE JOHN CHURCH CO., MRS. N. G. NETTLETON, THE COMMERCIAL GAZETTE CO., PERCY PROCTER, JULIUS DEXTER, HARLEY T. PROCTER, B. F. DAVIS, EDMUND PENDLETON, RICHARD DYMOND, HENRY G. ROELKER, ALBERT ERKENBRECHER, EDWARD RAWSON, J. F. ELLIOTT, CHAS. W. SHORT, F. FORCHHEIMER, JOHN L. STETTINIUS, SETH C. FOSTER, STEWART SHILLITO, THOS. T. GAFF, EDWIN STEVENS, WILLIAM N. HOBAR'!', M. M. SHOEMAKER, A. HOWARD HINKLE, W. W. SEELY, M. E. INGALLS, CHAS. P. TAFT, JOHN D. JONES, L. V AN ANTWERP, NICHOLAS LONGWORTH, LUCIE~ W ULSIN. MRS. S. W. LONGWORTH, ANNUAL SUBSCRIBERS. MRS. MARY EMERY, RUFUS KING. 4 THEODORE ,THOMAS, MUSICAL DIRECTOR. LOUIS EHRGOTT, CHORUS CONDUCTOR. SOPRANOS. FRAU LILLI LEHMANN, lYhIE. GruLlA VALDA, :VIRS. CORINNE MOORE-LAWSON, MISS ELIZABETH HETLICIl. CONTRALTO. MISS EMMA CRANCH. TENORS. "NIR~ EDWARD LLOYD, MR. THEODORE J. TOEDT, HERR PAUL KALISCH. BARITONE. MR. ALONZO E. STODDARD. BASS. MR. MYRON W. WHITNEY. ORGANIST. MR. ARTHUR MEES. CHORUS. ORCHESTRA. ORGAN. 5 Order of Performances. TUESDAY EVENING, MAY 22, ............... FIRST CONCERT. WEDNESDAY EVENING, MAY 23, ............. SECOND CONCERT. THURSDAY AF'l'ERNOON, MAY 24, . THIRD CONCERT. THURSDAY EVENING, MAY 24, . FOURTH CONCERT. F RIDAY E VENING, M AY 25 , •••. FIFTH CONCERT. SATURDAY AFTERNOQN, MAY 26, . SIXTH CONCERT. SATURDAY EVENING, MAY 26, . SEVENTH CONCERT. Evening Concerts begin at 7: 30 o'clock. Afternoon Concerts begin at 2: 00 o'clock. PARTICULAR NOTICE. The doors will be closed and .the concerts will begin precisely at the minute advertised. The doors will not be re-opened nor persons admitted until some convenient point in the programme is reached. No encores will be given. The Intermissions, which have proved such an attractive feature of the former festivals, will be continued. At each concert the Intermission will last about half an hour, during which time the audience will have an opportunity for promenade, and to take refreshments in other parts of the building. They will be called to their seats by the sound of a trumpet. While the performances are going on, the doors that give access to the places for refreshment will remain closed. Season Tickets, including reserved seats for all seven performances (on sale only until May 1),. $12 00 (Tickets for each performance detachable and accepted separately.) Single Concert, reserved seat (for sale on and after May 3), .. " 2 00 General Admission, . .. 1 00 Auction Sale of choice of seats for Subscribers' Season Tickets be­ gins at College Hall (Walnut Street), Tuesday, April 24, at 10 o'clock A. M. Sale of single reserved seats begins May 3,'and continues until the close of the festival. Persons residing at a distance can obtain reserved seats by addressing W. N. HOBART, President, who will furnish plats of the Hall, and any other information about the festival, upon application. () FIRST CONCERT. TUESDAY EVENING, MAY TWENTY-SEOOND. HYMN, Op. 36, Weber FRAU LILLI LEHMANN. MR. THEODORE J. 'rOEDT . .:\1188 E:mIIA CRANCH. :\1H. MYRON W·. WHITNEY. Chorus, Organ and Orchestra. SYMPHONY No.5, C Minor, Op. 67, Beethoven Allegro con brio. Andante can mota. Alleg1·o. Finale. 3-ntermtsston. EINE FAUST OUVERTURE, Wagner CANTATA, SONG OF PROMISE, Op. 43, J. ](. Paine (Composed for the Festival.) FRA U LILLI LEHMANN. Chorus, Organ and Orchestra. 7 SECOND CONCERT. WEDNESDAY EVENING, MAY TWENTY-THIRD. ST. PAUL, An Oratorio. Mendelssohn. MME. GIULIA VALDA. MR. EDWARD LLOYD. MISS EMMA CRANeR. MR. MYRON W. W RITNEY. Chorus, Organ, and Orchestra. Intermission between the First and Second Parts. s THIRD CONCERT. THURSDAY AFTERNOON, MAY TWENTY-FOURTI-I. OVERTURE, . } RECITATIVE AND ARIA, "Du kennst den Don Juan, Mozart Verriither," . FRAU I-JILLI LEHMANN. RECITATIVE AND ARIA, Joseph in Egypt, "Ach, mir} Mehul liichelt umsonst," MR. THEODORE J. TOED'I'. RECITATIVE AND RONDO, "Ja, der Augenblick er-} ITJ':b sc hemet,. " . rre er MRS. CORINNE MOORE-LAWSON. SYMPHONY :N o. 3, C Minor, Op. 78, 1. Adagio-Allegro m,oderato-Poco Adagio. II. Allegro Moderato-Presto-Maestoso-Allegro. Orchestra and Organ. gntermtsston. OVERTURE, Manfred, Op. 115, Schumann GRETCHEN AM SPINNRAD, Schttbert, FRAU LILLI I"EHMANN. ARIA, Irene, "She alone charmeth my sadness," Gounod MR. MYRON W. WHITNEY. RECITATIVE AND ARIA, Faust, Spohr MRS. CORINNE MOORE-LAWSON. RHAPSODY No.2. Liszt FOURTH CONCERT. THURSDAY EVENING, MAY TWENTY-FOURTH. THE SPECTRE'S BRIDE, a Dramatic Cantata, Op. 69, Dvorak FRA U LILLI LEHMANN. MR. EmVARD LLOYD. MR. ALONZO E. STODDARD. Chorus and Qrchestra. 5ntermtsston. SYMPHONY, Landliche Hochzeit, Op. 26, Goldrnark Hochzeitsmarsch, Va1wtionen. Brautlied, Inte1'mezzo. Se1'enade, Scherzo. 1m Garten, Andante. Tanz, Finale. 10 FIFTH CONCERT. FRIDAY EVENING, MAY TWENTY-FIFTH. PARADISE LOST. A Sacred Work in three parts. Rubinstein. MME. GIULIA VALDA. MIL EDWARD LLOYD. MISS ELIZABETH HETLICH. MR. ALONZO E. STODDARD. MISS E.l\IMA CRANCII. MR. MYHOX 'V'. WHITNEY. Chorus, Organ and Orchestra. Intermission between the Second and Third Parts. 11 SIXTH CONCERT. SATURDAY AFTERNOON, MAY TWENTY-SIXTH. SUITE No.3, D Major, Bach OVERTURE, AIR, GAVOTTE I-GAVOTTE II. ARIA, Judas Maccabreus, "Sound an Alarm," Handel MR. EDWARD LLOYD. RECITATIVE AND ARIA, Alceste, "Ihr Gotter ew'ger} Gluck Nacht," . FRA U LILLI LEHMANN. SYMPHONY No.6, Pastoral, Op. 68, Beethovlm . Allegro, ma non tl·OPpO. Oheerful impressions on al'riving in the country. Andante molto mota. Scene by the m'ook. Allegro. Peasants' merry-making. Allegro. Thunderstorm. Allegl·etto. Shepherd's Song. Glad and thankful feelings after the stor~n. 3-ntermtsston. FUNERAL MARCH, . Ohopin ROMANZA, Faust, "Dahin ist meine Ruh'," Berlioz FRA e LILLI LEHMANN. ARIA, Stabat Mater, "Cujus animam," Rossini MR. EDWARD LLOYD. ARIA, Der Damon, "Taglich eilen wir im Fluge," Rubinstein MME. GIULIA VALDA. MORCEAU SYMPHONIQUE, La Russie, R'ttbinstein Orchestra and Organ. 12 SEVENTH CONCERT. SATURDAY EVENING, MAY TWENTY-SIXTH. 'Ulllagner 1Rigbt. TANNHAUSER. a) Overture. b) Bacchanale and Duo. FRAU LILLI LEHMANN AND HERR PAUL KALISCH. Chorus of Women. LOHENGRIN. a) Vorspiel. b) Lohengrin's Farewell. MR. EDWARD LLOYD. c) Praye1" and Finale. MRS. LAWSON. MISS CRANCI-I. MR. TOEDT. MR. STODDARD. MR. WHITNEY. Chorus and Orchestra. 5ntermtsston. DIE MEISTERSINGER. a) Vorspiel. b) Walther's Preislied. MR. EDWARD LLOYD. GOTTERDAMMERUNG. a) Siegfried's Death. Orchestra. b) Finale, B1'unnhilde's Self-immolation. FRAU LILLI LEHMANN. 13 THE FESTIVAL. THIS Festival, the eighth of a biennial series, is given by the Cin- cinnati Musical Festival Association, an organization of ladies and gentlemen interested in the cause, and incorporated under the laws of Ohio for that purpose. The enterprise presents a development that has been at once rapid and healthy, the product of that public spirit and private generosity which has furnished men and means to carry on in Cincinnati every worthy effort in the cause of art. The First Festival, held in 1873, seems to have been suggested by the German Samgerfests. It was largely patterned after them, and was doubtless intended as a sort of American off-shoot. The circular was issued to "the choral societies of America," and stated that the object of the Festival was "to elevate and strengthen the standard of choral and instrumental music, and also to bring about harmony of action between the musical societies of the country, and more espe­ cially of the West." The permanent establishment of local festivals was, perhaps, not anticipated, certainly not on the lines that have since been followed; but the experiment proved so successful that a second festb;al was at once determined upon and announced at the last concert of the first festival. The second festival was held in 1875. Its success led to the building of Music Hall, by private subscription headed by that of Mr. Reuben R. Springer, at a cost of a little over $300,000, exclusive of the ground, which was supplied by the city. The hall was furnished with the great organ at a cost of $30,000, and was opened and dedicated at the third festival, held in 1878. Thus, in the course of five years, had the experiment of 1873 resulted in providing Cincinnati with the largest music hall and organ in the 15 THE FESTIVAL. country. With these material wants supplied, the May Festivals were looked upon as permanently established. , . Their history since that time is largely from their artistIC sIde, and is best disclosed in the schedule appf' led to this book of the works that have been performed and of the forces that have been employed. The Association has been moved from the beginning by a spirit of conscientious endeavor and high artistic purpose. The effort has been to present great works for chorus and orchestra, classical and modern, with the best forces obtainable. The course of the Asso­ ciation in this behalf has been molded and guided by the sound judgment and wise counsels of Mr. Theodore Thomas, who has been the Musical Director from the .first. The business management is in the hands of a Board of Directors. The first two festivals came within a trifle of meeting their expenses.
Load more

Recommended publications
  • A Century of Scholarship 1881 – 2004
    A Century of Scholarship 1881 – 2004 Distinguished Scholars Reception Program (Date – TBD) Preface A HUNDRED YEARS OF SCHOLARSHIP AND RESEARCH AT MARQUETTE UNIVERSITY DISTINGUISHED SCHOLARS’ RECEPTION (DATE – TBD) At today’s reception we celebrate the outstanding accomplishments, excluding scholarship and creativity of Marquette remarkable records in many non-scholarly faculty, staff and alumni throughout the pursuits. It is noted that the careers of last century, and we eagerly anticipate the some alumni have been recognized more coming century. From what you read in fully over the years through various this booklet, who can imagine the scope Alumni Association awards. and importance of the work Marquette people will do during the coming hundred Given limitations, it is likely that some years? deserving individuals have been omitted and others have incomplete or incorrect In addition, this gathering honors the citations in the program listing. Apologies recipient of the Lawrence G. Haggerty are extended to anyone whose work has Faculty Award for Research Excellence, not been properly recognized; just as as well as recognizing the prestigious prize scholarship is a work always in progress, and the man for whom it is named. so is the compilation of a list like the one Presented for the first time in the year that follows. To improve the 2000, the award has come to be regarded completeness and correctness of the as a distinguishing mark of faculty listing, you are invited to submit to the excellence in research and scholarship. Graduate School the names of individuals and titles of works and honors that have This program lists much of the published been omitted or wrongly cited so that scholarship, grant awards, and major additions and changes can be made to the honors and distinctions among database.
    [Show full text]
  • Louis Arthur Hamand; Coast Scenes
    A Sea-Spell by D. G. Rossetti; Hubert Bath; Three Songs for a Medium Voice by Heinrich Heine; Louis Arthur Hamand; Coast Scenes. Four Lyrics for Medium Voice by Louis Arthur Hamand The Musical Times, Vol. 50, No. 794 (Apr. 1, 1909), p. 248 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/907998 . Accessed: 24/12/2014 18:27 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 128.235.251.160 on Wed, 24 Dec 2014 18:27:48 PM All use subject to JSTOR Terms and Conditions 248 THE MUSICAL TIMES.-APRIL I, 19o09 The firstaim of Mr.Rutland Boughton's choral writing is SONGS. to provideinterest in everypart, the occasions being few Love's secret. The wild flower'ssong. In a myrtleshade. whenthe lowervoices form merely an accompaniment.Words by William Blake. Composed by Granville The continuousflow of thepart-writing disguises the rigid Bantock. stanza-formofthe narrative, and with its frequent modulations Good-night. For soprano or tenor.
    [Show full text]
  • Vol. 17, No. 4 April 2012
    Journal April 2012 Vol.17, No. 4 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] April 2012 Vol. 17, No. 4 President Editorial 3 Julian Lloyd Webber FRCM ‘... unconnected with the schools’ – Edward Elgar and Arthur Sullivan 4 Meinhard Saremba Vice-Presidents The Empire Bites Back: Reflections on Elgar’s Imperial Masque of 1912 24 Ian Parrott Andrew Neill Sir David Willcocks, CBE, MC Diana McVeagh ‘... you are on the Golden Stair’: Elgar and Elizabeth Lynn Linton 42 Michael Kennedy, CBE Martin Bird Michael Pope Book reviews 48 Sir Colin Davis, CH, CBE Lewis Foreman, Carl Newton, Richard Wiley Dame Janet Baker, CH, DBE Leonard Slatkin Music reviews 52 Sir Andrew Davis, CBE Julian Rushton Donald Hunt, OBE DVD reviews 54 Christopher Robinson, CVO, CBE Richard Wiley Andrew Neill Sir Mark Elder, CBE CD reviews 55 Barry Collett, Martin Bird, Richard Wiley Letters 62 Chairman Steven Halls 100 Years Ago 65 Vice-Chairman Stuart Freed Treasurer Peter Hesham Secretary The Editor does not necessarily agree with the views expressed by contributors, Helen Petchey nor does the Elgar Society accept responsibility for such views. Front Cover: Arthur Sullivan: specially engraved for Frederick Spark’s and Joseph Bennett’s ‘History of the Leeds Musical Festivals’, (Leeds: Fred. R. Spark & Son, 1892). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this.
    [Show full text]
  • From Page to Stage: Wagner As Regisseur
    Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production.
    [Show full text]
  • Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
    DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 31
    CONVENTION HALL . ROCHESTER Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor Programme WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 29 AT 8.15 COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER : : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds.
    [Show full text]
  • 2008 OAH Annual Meeting • New York 1
    Welcome ear colleagues in history, welcome to the one-hundred-fi rst annual meeting of the Organiza- tion of American Historians in New York. Last year we met in our founding site of Minneap- Dolis-St. Paul, before that in the national capital of Washington, DC. On the present occasion wew meet in the world’s media capital, but in a very special way: this is a bridge-and-tunnel aff air, not limitedli to just the island of Manhattan. Bridges and tunnels connect the island to the larger metropolitan region. For a long time, the peoplep in Manhattan looked down on people from New Jersey and the “outer boroughs”— Brooklyn, theth Bronx, Queens, and Staten Island—who came to the island via those bridges and tunnels. Bridge- and-tunnela people were supposed to lack the sophistication and style of Manhattan people. Bridge- and-tunnela people also did the work: hard work, essential work, beautifully creative work. You will sees this work in sessions and tours extending beyond midtown Manhattan. Be sure not to miss, for example,e “From Mambo to Hip-Hop: Th e South Bronx Latin Music Tour” and the bus tour to my own Photo by Steve Miller Steve by Photo cityc of Newark, New Jersey. Not that this meeting is bridge-and-tunnel only. Th anks to the excellent, hard working program committee, chaired by Debo- rah Gray White, and the local arrangements committee, chaired by Mark Naison and Irma Watkins-Owens, you can chose from an abundance of off erings in and on historic Manhattan: in Harlem, the Cooper Union, Chinatown, the Center for Jewish History, the Brooklyn Historical Society, the New-York Historical Society, the American Folk Art Museum, and many other sites of great interest.
    [Show full text]
  • February 1934) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 2-1-1934 Volume 52, Number 02 (February 1934) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship 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 52, Number 02 (February 1934)." , (1934). https://digitalcommons.gardner-webb.edu/etude/819 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 tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE <'Music <3XCavazine February 1934 ^ Price 25 Cents THE ETUDE FEBRUARY 1934. Page 67 Choose Your Own Books Many Successful Piano Teachers of To-day Regularly Use These Works JctA^eUpto^O^S BUY AS FEW AS ALBUMS OF PIANO PIECES Works with attractive qualities that keep P^° ‘^/^cher to achieve results. First and Second FOUR A YEAR these works for examination. Grade Pieces for Boys Price, 75<! eavorfd PRESENT-DAY “dolly” pieces. ^selectuon or easy piano solos of the t est of the “real boy” beginner. Priscilla’s Week ilsIiiSsss-Hiii Boy’s Own Book of Piano Pieces A reliable and complete book service. As a plete and reliable guide to all of the impor¬ tant new books published each month the Editorial Board reviews in WINGS about twenty books which, in their opinion, are the out¬ Girl’s Own Book of Piano Pieces standing books to be published by the leading publishing houses.
    [Show full text]
  • Babel' in Context a Study in Cultural Identity B O R D E R L I N E S : R U S S I a N А N D E a S T E U R O P E a N J E W I S H S T U D I E S
    Babel' in Context A Study in Cultural Identity B o r d e r l i n e s : r u s s i a n а n d e a s t e u r o p e a n J e w i s h s t u d i e s Series Editor: Harriet Murav—University of Illinois, Urbana-Champaign Editorial board: Mikhail KrutiKov—University of Michigan alice NakhiMovsKy—Colgate University David Shneer—University of Colorado, Boulder anna ShterNsHis—University of Toronto Babel' in Context A Study in Cultural Identity Ef r a i m Sic hEr BOSTON / 2012 Library of Congress Cataloging-in-Publication Data: A catalog record for this book as available from the Library of Congress. Copyright © 2012 Academic Studies Press All rights reserved Effective July 29, 2016, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. ISBN 978-1-936235-95-7 Cloth ISBN 978-1-61811-145-6 Electronic Book design by Ivan Grave Published by Academic Studies Press in 2012 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com C o n t e n t s Note on References and Translations 8 Acknowledgments 9 Introduction 11 1 / Isaak Babelʹ: A Brief Life 29 2 / Reference and Interference 85 3 / Babelʹ, Bialik, and Others 108 4 / Midrash and History: A Key to the Babelesque Imagination 129 5 / A Russian Maupassant 151 6 / Babelʹ’s Civil War 170 7 / A Voyeur on a Collective Farm 208 Bibliography of Works by Babelʹ and Recommended Reading 228 Notes 252 Index 289 Illustrations Babelʹ with his father, Nikolaev 1904 32 Babelʹ with his schoolmates 33 Benia Krik (still from the film, Benia Krik, 1926) 37 S.
    [Show full text]
  • Making an Old-World Milwaukee: German Heritage, Nostalgia, and the Reshaping of the Twentieth Century City Joseph B
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2017 Making an Old-world Milwaukee: German Heritage, Nostalgia, and the Reshaping of the Twentieth Century City Joseph B. Walzer University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Ethnic Studies Commons, and the United States History Commons Recommended Citation Walzer, Joseph B., "Making an Old-world Milwaukee: German Heritage, Nostalgia, and the Reshaping of the Twentieth Century City" (2017). Theses and Dissertations. 1719. https://dc.uwm.edu/etd/1719 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. MAKING AN OLD-WORLD MILWAUKEE: GERMAN HERITAGE, NOSTALGIA AND THE RESHAPING OF THE TWENTIETH CENTURY CITY by Joseph B. Walzer A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History at The University of Wisconsin-Milwaukee August 2017 ABSTRACT MAKING AN OLD-WORLD MILWAUKEE: GERMAN HERITAGE, NOSTALGIA AND THE RESHAPING OF THE TWENTIETH CENTURY CITY by Joseph B. Walzer The University of Wisconsin-Milwaukee, 2017 Under the Supervision of Professor Rachel Buff This dissertation examines the importance of white ethnicity, and especially Germanness, in the “civic branding” and urban restructuring efforts of city officials, civic boosters, and business leaders in Milwaukee, Wisconsin in the mid-to-late twentieth century. Scholars have increasingly identified the significant roles the “revival” of European ethnic identities played in maintaining white racial privilege in response to the Civil Rights Movement since the 1960s.
    [Show full text]
  • Employment of Female Voices in Church Choirs Authors(S): M
    Employment of Female Voices in Church Choirs Authors(s): M. J. Cope Source: The Musical Times and Singing Class Circular, Vol. 28, No. 527 (Jan. 1, 1887), p. 49 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3359340 Accessed: 30-03-2016 08:41 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular http://www.jstor.org This content downloaded from 150.135.239.97 on Wed, 30 Mar 2016 08:41:50 UTC All use subject to http://about.jstor.org/terms THE MUSICAL TIMES.---JANUARY I, 1887. 49 Ferdinand, is accused of conspiring, and his arrest gives A statue of the popular Russian composer, Glinka, was rise to a powerful concerted piece on which the curtain unveiled on November 27 at Smolensk, in the vicinity of falls. The scene of the fourth and last act is naturally the which town the composer was born. The day of unveiling prison, where Egmont hears read to him his sentence likewise coincided with the fiftieth anniversary of the first of death.
    [Show full text]
  • European Train Names: a Historic Outline Christian Weyers
    ONOMÀSTICA BIBLIOTECA TÈCNICA DE POLÍTICA LINGÜÍSTICA European Train Names: a Historic Outline* Christian Weyers DOI: 10.2436/15.8040.01.201 Abstract This paper gives a first overview of the onomastic category of train names, searches to classify the corpus and reviews different stages of their productivity. Apart from geographical names (toponyms, choronyms, compass directions) generally indicating points of origin and destination of the trains in question, a considerable number of personal names have entered this category, of classical literary authors, musicians and scientists, but also of many fictional or non-fictional characters taken from literature or legendary traditions. In some cases also certain symbolic attributes of these persons and finally even heraldic figures have given their names to trains. In terms of their functionality, train names originally were an indicator of exclusiveness and high grade of travel quality, but they developed gradually, as they dispersed over the European continent, into a rather unspecific, generalized appellation, also for regional and local trains. After two periods of prosperity after 1950, the privatisation of railway companies starting in the 1990s had again a very positive effect on the category, as the number of named trains initially reached a new record in this decade. ***** The first train names appeared in England in the 1860s in addition to names for steam locomotives, and on two different levels. The Special Scotch Express between London King’s Cross and Edinburgh (inaugurated in 1862) was called by the public The Flying Scotsman from the 1870s, but it succeeded as the official name not before 1924. Also the names of the German diesel trainsets Der Fliegende Hamburger and Der Fliegende Kölner were colloquial name creations, as were the Train Bleu and the Settebello operated from 1922 and 1953 but officially named in 1947 and 1958, respectively.
    [Show full text]