DOCSLIB.ORG

The Year's Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Year's Music This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com TheYear'smusic THE YEAR'S MUSIC Wa& 03.oijul Meg of |Ka^ic, TENTERDEN STREET, HANOYER SQUARE. INSTITUTED, 1822. INCORPORATED BY ROYAL CHARTER, 1830. '{Jatroits : HER MOST GRACIOUS MAJESTY THE QUEEN. Their Royal Hiqhnrsses THE PRINCE AND; PRINCESS OF WALES, And other Members of the Royal Family. President-K.Vi.VL. THE DUKE OF SAXE-COBURG AND GOTHA, DUKE OF EDINBURGH, K.G. Principal- SIR ALEXANDER CAMPBELL MACKENZIE, Mus.D., F.R.A.M. THE ROYAL ACADEMY OF MUSIC offers to students of both sexes (whether amateur or profeisional) a thorough training in all branches of music under the most able and distinguished Professors. In addition to receiving individual lessons in the various branches of the Curriculum, students have the advantage of attending the Orchestral, Choral, and Chamber Music Classes, and the weekly lectures on music and musi cians. Evidence of their progress is given at the Fortnightly and Public Concerts and by periodical Operatic and Dramatic Performances. The Lent Term commences January 5th. The Fee for the ordinary curriculum is n Guineas per Term. A large number of Scholarships and Prizes are founded and are competed for periodically. Students who show special merit and ability receive the distinction of being elected by the Directors Associates of the Institution, and are thereby entitled to the use after their names of the initials A.R.A.M. Students who distinguish themselves in the musical profession after quitting the Institution may be elected by the Directors Fellows of the Royal Academy of Music, and are thereupon entitled to the use after their names of the initials F.R.A.M. Subscribers have the privilege of attending the Lectures and Public Concerts and of introducing friends in proportion to the amount of their subscriptions. An examination of persons trained independently of the Academy is held twice a year — viz., during the Summer and Christmas vacations — successful candidates at which are elected Licentiates of the Academy, and are there upon entitled to the use after their names of the initials L.R.A.M. Prospectus, entry form, and all further information may be obtained on application. F. W. RENAUT, Secretary. AD VERTISEMENTS. The Royal College of Organists, HART STREET, BLOOMSBURY, W.C Instituted 1864. Incorporated by Royal Charter, 1893. J atoms. THE ARCHBISHOP OF CANTERBURY. THE ARCHBISHOP OF . YORK, and THE BISHOP OF LONDON. Srtsiitnt. Sir A. C. MACKENZIE, Mus.D. Cantab, et St. Andrews. ESTABLISHED To provide a Central Organization in London of the Profession of Organist. To provide a system of Examinations and Certificates for the better definition and protection of the Profession, and to secure competent Organists for the service of the Church. To afford opportunities for intercourse among Members of the Profession, and for the discussion of professional topics. To encourage the composition and study of Sacred Music. Intending Members should address the Secretary for a Prospectus, and for particulars of the Examinations held for the Diplomas of Associates and Fellows of the College, Son. %xnmxtt. $im. grtrrtsrj. $tjistrsr. J. NORBURY, Esq. Dr. E. H. TURPIN. T. SHINDLER, Esq., M.A. Incorporated Society of Hugiciang. PRESIDENT. H.R.H. THE DUKE OF SAXE-COBURG AND GOTHA (DUKE OF EDINBURGH, K.G.) ESTABLISHED 1882. To admit to membership duly qualified Professional Musicians, and to obtain for them formal and acknowledged professional standing — to promote the culture of music — to provide opportunities for personal and social inter course between the members — to discuss all matters relating to music or musicians — and to raise the standard of musical education by means of examinations where required. The Society now consists of nearly two thousand members, amongst whom are many of the most eminent musicians of the Kingdom. The Local Examinations are conducted on the following principles : — Two Examiners to be present at each Examination — an absolute definite Syllabus of Requirements — no Local Professional Representatives— Can didates known only to the Examiners by numbers — particulars of marks gained given to each Candidate. For particulars apply to the General Secretary (MB. CHADETELD), 19, Beraers Street, London, W. f « N 1 ~" THE YEAR'S MUSIC. jftDgal QoIlFgf of flUnsir, PRINCE CONSORT ROAD, SOUTH KENSINGTON, LONDON, S.W. INCORPORATED BY ROYAL CHARTER, 1883. President— H.R.H. The PRINCE OF WALES, K.G. Director— C. HUBERT H. PARRY, Esq., D.C.L., MA., Mus. Doc. Honorary Auditor— SIR CHARLES LISTER RYAN, K.C.B. Honorary Secretary— CHARLES MORLEY, Esq., M.P. THE COLLEGE offers a complete course of musical instruction to pupils both professional and amateur, by teachers of the highest eminence in all branches. Pupils when sufficiently advanced have opportunities of putting their knowledge into practice at the ensemble rehearsals, the practices of the Orchestra, the College Concerts, and the periodical performances of Opera. Sixty Scholarships have been founded, a proportion of which are competed for annually. They provide free musical education, and, in some cases, a grant towards maintenance. There are Exhibitions, Prizes, and other advantages, for particulars of which see the Syllabus. TERMS, FEES, &c. The Tuition fee is £iz 12s. per term, which includes a Principal and Second Study as well as paper work classes, &c. Students must continue at College for at least three terms. Female Pupils requiring residence are accommodated at the Alexandra House adjacent to trie College, as far as the capacity of that Institution allows, on terms to be obtained from the Lady Superintendent of the House. A Junior Department has been established to provide for the tuition of Pupils under 16 years of age. The fee is £6 6s. per term for one subject, with Rudiments of Music, &c. EXAMINATION FOR ASSOCIATE. An examination for Certificate of Proficiency with the title of " Asso ciate of the Royal College of Music " (A.R.C.M.) is held every spring. It is conducted by the Director and principal Professors of the College, assisted by eminent Musicians who are not connected with the institution. The fee for this examination is 5 guineas. The College Syllabus and all further particulars can be obtained by application to — FRANK POWNALL, Registrar. THE YEAR'S MUSIC i From a photo by Elliott & Fry. SIR WALTER PARRATT. (Master of the Queen's Music.) " S MUS \ CONCISE Kly M.I. MAl'lKR^ RHATINi; in . "-.V r.Jih i.'- . :, <.>;aji*.-A . -. J-rLXiS 01- Tna . !»,-.<! KTER *il kig ..'.;/ ",u!-'i}n ana F-\ .- t' *' ' THE YEAR'S MUSIC 1898 BEING A CONCISE RECORD OF ALL MATTERS RELATING TO 5?Stustc anb Musical gnstifutions WHICH HAVE OCCURRED DURING THE SEASON 1896-7, TOGETHER WITH INFORMATION RESPECTING THE EVENTS OF THE SEASON 1897.8 EDITED BY A. C. R. CARTER {Editor of The Yhar's Art) W&ith ,jFaU-}mgt portrait* bonbon J. S. VIRTUE & CO., Limited, 26, IVY LANE, PATERNOSTER ROW 1898 All Right of Translation and Reproduction is Reserved NOTE. The Year's Music has now reached its third annual issue, and in the present volume (the first intrusted to me for compilation) an endeavour has been made to place the work on such a basis that the order and arrangement of the in formation may most readily serve the reader's purpose. In this connexion advantage has been taken of the friendly criticisms which previous issues have evoked. I may also add that similar experience in compilation, derived from the editing of The Year's Art, has shown me the necessity of adopting that plan of arrangement which will allow of the most orderly development in the future. A reference to the page of " Contents " will, it is hoped, give a clear idea of the methods followed in the compila tion. The year's chronicle is set forth in a short introduc tory article. Particulars of the National and other important training and examining institutions follow. In the ensuing pages great care has been exercised in the proper classify ing of the many varied concerts of the past London season. Opera and Festival music are next described, and the possi bilities of future extension are shown in the somewhat brief notices of the more important musical societies in the Suburbs and in the Provinces. The portraits of Sir Walter Parratt, Sir Alexander Mac kenzie, Dr. Hubert Parry, and Mr. W. H. Cummings find NOTE. fitting places in this volume ; the position held by the first- named gentleman as "Master of the Queen's Music" sug gesting the appropriateness of choosing his portrait as frontis piece to a volume referring to the music of 1897. The list of new works performed in England for the first time during the last season has been made as complete as possible ; and the alphabetical arrangement under the head of composers has been chosen as affording the most serviceable means of reference. The regulations governing Degrees in Music, conferred by the various Universities, and a list of Doctors in Music, should also be found useful, and a Directory of Vocal ists has been added for the first time, to which necessary additions can always be made on application to the publishers. I must thank the many officers of musical institutions for their uniformly courteous co-operation, and I should add that the unavoidable delay in the issue of this volume, owing to the changes already mentioned, will, it is hoped, be partly rectified by the appearance of the next in the ensuing autumn, very shortly after the completion of the present musical season. Secretaries of musical societies and institu tions, and concert managers generally, will afford me material assistance by forwarding, from time to time, any useful information concerning their musical projects; and I shall also welcome any suggestions of desirable improvements.
Load more

Recommended publications
  • The Year's Music
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c.
    [Show full text]
  • George H. Clutsam
    GEORGE H. CLUTSAM George Clutsam published his first composition at age nine and in his early twenties toured with various minstrel shows through Australasia and the East. After moving to England in 1887 he established himself as an accompanist and composer of both serious and light music. Among his works were several operas and a number of musical comedies, burlesques and plays. His biggest success was the Shubert-inspired 1922 musical play Lilac Time (later Blossom Time, 1942), for which he arranged Shubert's music and composed additional music. Described by one London critic as being musically one "of the moderns" and "a close student of Strauss and Debussy [whose] work revealed great mastery of orchestral possibilities and many clever touches of instrumental humour," George Howard Clutsam was born in Sydney on 26 September 1866. His early life saw him exposed to and involved in many different styles of music. He is believed to have moved around with his parents quite often during his early years, spending periods of time in Sydney and Victoria before they moved to New Zealand in the late 1870s. It was in that country that Clutsam developed his passion for music through piano lessons and a desire to compose. An Australasian writer records in this respect that "Master G. Clutsam, a native of Victoria, but now of Dunedin… and who is only nine years old, has composed and published a piece for the pianoforte entitled "La Pluie De Printemps" (11 Oct. 1879, 647). Although the writer was incorrect in respect of Clutsam's age (he would have been 13 years old) it is clear that the young pianist/composer was already on the road to a career that would eventually see him accepted as one of the leading popular composers of London around the turn of the century.
    [Show full text]
  • Folk Song in Cumbria: a Distinctive Regional
    FOLK SONG IN CUMBRIA: A DISTINCTIVE REGIONAL REPERTOIRE? A dissertation submitted in partial fulfilment of the degree of Doctor of Philosophy by Susan Margaret Allan, MA (Lancaster), BEd (London) University of Lancaster, November 2016 ABSTRACT One of the lacunae of traditional music scholarship in England has been the lack of systematic study of folk song and its performance in discrete geographical areas. This thesis endeavours to address this gap in knowledge for one region through a study of Cumbrian folk song and its performance over the past two hundred years. Although primarily a social history of popular culture, with some elements of ethnography and a little musicology, it is also a participant-observer study from the personal perspective of one who has performed and collected Cumbrian folk songs for some forty years. The principal task has been to research and present the folk songs known to have been published or performed in Cumbria since circa 1900, designated as the Cumbrian Folk Song Corpus: a body of 515 songs from 1010 different sources, including manuscripts, print, recordings and broadcasts. The thesis begins with the history of the best-known Cumbrian folk song, ‘D’Ye Ken John Peel’ from its date of composition around 1830 through to the late twentieth century. From this narrative the main themes of the thesis are drawn out: the problem of defining ‘folk song’, given its eclectic nature; the role of the various collectors, mediators and performers of folk songs over the years, including myself; the range of different contexts in which the songs have been performed, and by whom; the vexed questions of ‘authenticity’ and ‘invented tradition’, and the extent to which this repertoire is a distinctive regional one.
    [Show full text]
  • The Archway Investment Fund Semi Annual Report, Fall 2014 Bryant University, Archway Investment Fund
    Bryant University DigitalCommons@Bryant University Archway Investment Fund Archway Investment Fund Fall 2014 The Archway Investment Fund Semi Annual Report, Fall 2014 Bryant University, Archway Investment Fund Follow this and additional works at: http://digitalcommons.bryant.edu/archway_investment Part of the Finance and Financial Management Commons Recommended Citation Bryant University, Archway Investment Fund, "The Archway Investment Fund Semi Annual Report, Fall 2014" (2014). Archway Investment Fund. Paper 20. http://digitalcommons.bryant.edu/archway_investment/20 This Report is brought to you for free and open access by the Archway Investment Fund at DigitalCommons@Bryant University. It has been accepted for inclusion in Archway Investment Fund by an authorized administrator of DigitalCommons@Bryant University. For more information, please contact [email protected]. The Archway Investment Fund Semi-Annual Report • fall 2014 ARCHWAY INVESTMENT FUND The archway investment fund was established in Portfolio Management, in which students take on portfolio fall 2005 to provide Bryant University students with the management responsibilities and work with the Securities opportunity to manage real-world investments following Analysts to improve the future growth of the Fund. In principles used by investment managers around the globe. addition to managing the Fund, Portfolio Managers, hav- Students must apply for the two-part course and inter- ing just been through the course, mentor the Securities view for a position in the class, competing against other Analysts in the stock selection process. At semester’s students, much like the job search process. In the program, end, Portfolio Managers present their work to a panel of which is led by Professor David Louton, students develop professionals from the investments industry.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season
    MUSIC HALL, BOSTON. BOSTON SYMPHONY ORCHESTRA, ARTHUR NIKISCH, Conductor. Ninth Season, 1889-90. PROGRAMME OF THE Tenth Rehearsal and Concert FRIDAY AFTERNOON, DECEMBER 13, AT 2.30. SATURDAY EVENING, DECEMBER 14, AT 8.00. WITH HISTORICAL AND ANALYTICAL NOTES PREPARED BY G. H. WILSON. PUBLISHED BY C. A. ELLIS, Manager. (289) NEW LINE TO WASHINGTON BALTIMORE & OHIO R.R. FOR BALTIMORE, CHICAGO, WASHINGTON, ST. LOUIS, CINCINNATI, INDIANAPOLIS, COLUMBUS, PITTSBURG. Only Line via Washington to the West. Two Through Trains Daily to Chicago, Cincinnati, and St. Louis Without Change. Seven Fast Trains Daily to Washington. Magnificent Pullman Palace, Drawing and Sleeping Cars ON ALL TRAINS. CHAS. O. SCULL, Gen'l Pass'r Agt., A.J. SIMMONS, New Eng. Pass'r Agt., Baltimore, Md. 211 Washington St., Boston, Mass. C. P. CRAIG, Gen'l Eastern Pass'r Agent, New York. * \krwv (sH^t-JLLxi/rzcj\ AND 1 59 Tremont Street. (21W) TENTH REHEARSAL and CONCERT. Friday Afternoon, December 13, at 2.30. Saturday Evening, December 14, at 8.00. PROGRAMME. Goldmark _-__-_ Overture, "fakuntala"- Litolff - - Concerto for Pianoforte and Orchestra, "Symphonie National Hollandaise," No, 3, in E-flat, Op. 45 (First time in Boston.) Maestoso. Presto ; Allegro ; Presto. Andante. : Allegro vivace un poco piu lento ; tempo vivace. Wagner ----- Prelude, ^ Tristan and Isolde" Schumann _ _ _ Overture, Scherzo and Finale, Op. 52 Soloist, Mrs. FANNY BLOOMFIELD-ZEISLER. THE PIANOFORTE IS A STEINWAY. The Programme for the next Public Rehearsal and Concert will be found on sage 315. (291) SHORE LINE BOSTON NEW YORK NEW YORK TOU BOSTON THROUGH TRAIN SERVICE FROM EITHER CITY.
    [Show full text]
  • The Crucifixion: Stainer's Invention of the Anglican Passion
    The Crucifixion: Stainer’s Invention of the Anglican Passion and Its Subsequent Influence on Descendent Works by Maunder, Somervell, Wood, and Thiman Matthew Hoch Abstract The Anglican Passion is a largely forgotten genre that flourished in the late nineteenth and early twentieth centuries. Modeled distinctly after the Lutheran Passion— particularly in its use of congregational hymns that punctuate and comment upon the drama—Anglican Passions also owe much to the rise of hymnody and small parish music-making in England during the latter part of the nineteenth century. John Stainer’s The Crucifixion (1887) is a quintessential example of the genre and the Anglican Passion that is most often performed and recorded. This article traces the origins of the genre and explores lesser-known early twentieth-century Anglican Passions that are direct descendants of Stainer’s work. Four works in particular will be reviewed within this historical context: John Henry Maunder’s Olivet to Calvary (1904), Arthur Somervell’s The Passion of Christ (1914), Charles Wood’s The Passion of Our Lord according to St Mark (1920), and Eric Thiman’s The Last Supper (1930). Examining these works in a sequential order reveals a distinct evolution and decline of the genre over the course of these decades, with Wood’s masterpiece standing as the towering achievement of the Anglican Passion genre in the immediate aftermath of World War I. The article concludes with a call for reappraisal of these underperformed works and their potential use in modern liturgical worship. A Brief History of the Passion Genre from the sung in plainchant, and this practice continued Medieval Era to the Eighteenth Century through the late medieval and early Renaissance eras.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 49,1929
    oj^MUilUUtyty ?<<,- "^w. ** BOSTON SYAPMONY ORCHESTRA INC. FORTY-NINTH SEASON 1929-1930 m PRSGRKttftE (MONDAY) "J£ ^ ^ The PLAZA, New York Fred Sterry John D. Owen President Manager (The Savoy-Plaza The Copley-Plaza HenryA.Rost NeW York Arthur L. Race Boston President Managing Director Motels of ^Distinction Unrivalled as to location. Distin* guished throughout the World for their appointments and service. & 71 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 istra INC. Dr. SERGE KOUSSEVITZKY, Conductor FORTY-NINTH SEASON, 1929-1930 MONDAY EVENING, DECEMBER 2, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1929, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1 — It will outlast three ordinary pianos The Steinway's astonishing length of life is not the result of chance. It is built in buy a Steinway • There is a slowly, carefully, by skilled wide range of sizes and prices. craftsmen using the finest ma- Make your visit to the nearest terials. It is as much a part of Steinway dealer today. a Steinway as its lovely tone • For 30, 40, or even 50 years A new Steinway Upright and more the Steinway will piano can be bought for 875 and up—plus serve you well.
    [Show full text]
  • Early 20Th-Century Operetta from the German Stage: a Cosmopolitan Genre
    This is a repository copy of Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/150913/ Version: Accepted Version Article: Scott, DB orcid.org/0000-0002-5367-6579 (2016) Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. The Musical Quarterly, 99 (2). pp. 254-279. ISSN 0027-4631 https://doi.org/10.1093/musqtl/gdw009 © The Author 2016. Published by Oxford University Press. This is an author produced version of a paper published in The Musical Quarterly. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre Derek B. Scott In the first four decades of the twentieth century, new operettas from the German stage enjoyed great success with audiences not only in cities in Europe and North America but elsewhere around the world.1 The transfer of operetta and musical theatre across countries and continents may be viewed as cosmopolitanism in action.
    [Show full text]
  • Riccardo Muti Conductor Michele Campanella Piano Eric Cutler Tenor Men of the Chicago Symphony Chorus Duain Wolfe Director Wagne
    Program ONE huNdrEd TwENTy-FirST SEASON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, September 30, 2011, at 8:00 Saturday, October 1, 2011, at 8:00 Tuesday, October 4, 2011, at 7:30 riccardo muti conductor michele Campanella piano Eric Cutler tenor men of the Chicago Symphony Chorus Duain Wolfe director Wagner Huldigungsmarsch Liszt Piano Concerto No. 1 in E-flat Major Allegro maestoso Quasi adagio— Allegretto vivace— Allegro marziale animato MiChElE CampanellA IntErmISSIon Liszt A Faust Symphony Faust: lento assai—Allegro impetuoso Gretchen: Andante soave Mephistopheles: Allegro vivace, ironico EriC CuTlEr MEN OF ThE Chicago SyMPhONy ChOruS This concert series is generously made possible by Mr. & Mrs. Dietrich M. Gross. The Chicago Symphony Orchestra thanks Mr. & Mrs. John Giura for their leadership support in partially sponsoring Friday evening’s performance. CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PhilliP huSChEr ne hundred years ago, the Chicago Symphony paid tribute Oto the centenary of the birth of Franz Liszt with the pro- gram of music Riccardo Muti conducts this week to honor the bicentennial of the composer’s birth. Today, Liszt’s stature in the music world seems diminished—his music is not all that regularly performed, aside from a few works, such as the B minor piano sonata, that have never gone out of favor; and he is more a name in the history books than an indispensable part of our concert life.
    [Show full text]
  • Methods of Social Reform
    METHODS OF SOCIAL REFORM. METHODS OF SOCIAL REFORM AND OTHER PAPERS BY W. STANLEY JEVONS, M.A., LL.D., F.R.S. &mbm MACMILLAN AND CO. 1883 [All sightr rW.1 PREFACE. A FEW words will explain that this volume is a collection of the Essays published under the title of Methods of Social Reform” in The Contemporary Rcckw, and of otherpapers and addresses on kindredsubjects. They extend over a period of fifteen years, and I have given at the commencement of eachpaper the date at which it was written, 89 I have thought it better to arrange them as far &9 I Could according to subjects rather than by date. It was my husband’s inten- tion to have republished these Essays himself, and with this view hehad already revised two of them--“ Experimental Legislation and the Drink Traffic,” and “Amusements of the People ;” to the latter he had added several new paragraphs, He would, I am sure, have carefully edited and revised the others in the same way, but they are now republished just as theywere originally written. The Essay on “The Use and Abnse of Museums ’’ has not before been published. It was chie0y written in 1881, for Contemporary Reuieu~,but wm laid aside from the pressure of other work, and I am unable to say the exact time at which it waa hished. It still the halrevision which he wodd have given before sending it vi PREFACE. to Prerre. The Lecture on rr Industrial Partnerships" ie m- fedto by Mr. Jevona in his book on Ir The State in Relation to Labour,'' * p.
    [Show full text]
  • Las Sonatas Para Piano De Beethoven a Través De Los Trabajos De Edición De Agnes Zimmermann
    Cuadernos de Investigación Musical, diciembre 2020, (11, número extraordinario), pp. 45-75 DOI: https://doi.org/10.18239/invesmusic.2020.11.05 ISSN: 2530-6847 Las Sonatas para piano de Beethoven a través de los trabajos de edición de Agnes Zimmermann Beethoven’s Sonatas throughout the Editorial Work of Agnes Zimmermann Virginia Sánchez Rodríguez Universidad de Castilla-La Mancha Centro de Investigación y Documentación Musical (CIDoM)-Unidad Asociada al CSIC [email protected] ORCID iD: https://orcid.org/0000-0001-8071-2937 RESUMEN Las Sonatas para piano son, en su conjunto, una de las obras de Ludwig van Beethoven más interpretadas a lo largo de la historia, tanto en público como en el ámbito escolar, pero también una de las que han disfrutado de un mayor número de ediciones a cargo de pianistas y estudiosos de diferentes países. De acuerdo con esta circunstancia, en este trabajo se presenta la edición realizada por la pianista y compositora británica Agnes Zimmermann (1847-1925), una de las mujeres músicas más célebres de su época que, además, mantuvo un estrecho contacto con el legado beethoveniano a lo largo de su carrera. En concreto, a través de fuentes primarias y secundarias, se propone un acercamiento a la figura de esta destacada fémina y un estudio sobre las particularidades de su edición de las Sonatas para piano de Beethoven, publicada por la editorial Novello, Ewer & Co. en 1873 y cuya reimpresión, revisada, vio la luz en el año 1880. Palabras clave: Ludwig van Beethoven, Sonatas para piano, Agnes Zimmermann, mujeres en la música, edición musical.
    [Show full text]
  • Sir Hamilton Harty Music Collection
    MS14 Harty Collection About the collection: This is a collection of holograph manuscripts of the composer and conductor, Sir Hamilton Harty (1879-1941) featuring full and part scores to a range of orchestral and choral pieces composed or arranged by Harty, c 1900-1939. Included in the collection are arrangements of Handel and Berlioz, whose performances of which Harty was most noted, and autograph manuscripts approx. 48 original works including ‘Symphony in D (Irish)’ (1915), ‘The Children of Lir’ (c 1939), ‘In Ireland, A Fantasy for flute, harp and small orchestra’ and ‘Quartet in F for 2 violins, viola and ‘cello’ for which he won the Feis Ceoil prize in 1900. The collection also contains an incomplete autobiographical memoir, letters, telegrams, photographs and various typescript copies of lectures and articles by Harty on Berlioz and piano accompaniment, c 1926 – c 1936. Also included is a set of 5 scrapbooks containing cuttings from newspapers and periodicals, letters, photographs, autographs etc. by or relating to Harty. Some published material is also included: Performance Sets (Appendix1), Harty Songs (MS14/11). The Harty Collection was donated to the library by Harty’s personal secretary and intimate friend Olive Baguley in 1946. She was the executer of his possessions after his death. In 1960 she received an honorary degree from Queen’s (Master of Arts) in recognition of her commitment to Harty, his legacy, and her assignment of his belongings to the university. The original listing was compiled in various stages by Declan Plumber
    [Show full text]