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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
Autobiography of Andrew Dickson White</H1>
Autobiography of Andrew Dickson White Autobiography of Andrew Dickson White Scanned by Charles Keller with OmniPage Professional OCR software Autobiography of Andrew Dickson White Volume II Scanned by Charles Keller with OmniPage Professional OCR software donated by Caere Corporation, 1-800-535-7226. Contact Mike Lough AUTOBIOGRAPHY OF ANDREW DICKSON WHITE WITH PORTRAITS VOLUME I page 1 / 895 NEW YORK THE CENTURY CO. 1905 Copyright, 1904, 1905, by THE CENTURY CO. ---- Published March, 1905 THE DE VINNE PRESS TO MY OLD STUDENTS THIS RECORD OF MY LIFE IS INSCRIBED WITH MOST KINDLY RECOLLECTIONS AND BEST WISHES TABLE OF CONTENTS PART I--ENVIRONMENT AND EDUCATION CHAPTER I. BOYHOOD IN CENTRAL NEW YORK--1832-1850 The ``Military Tract'' of New York. A settlement on the headwaters of the Susquehanna. Arrival of my grandfathers and page 2 / 895 grandmothers. Growth of the new settlement. First recollections of it. General character of my environment. My father and mother. Cortland Academy. Its twofold effect upon me. First schooling. Methods in primary studies. Physical education. Removal to Syracuse. The Syracuse Academy. Joseph Allen and Professor Root; their influence; moral side of the education thus obtained. General education outside the school. Removal to a ``classical school''; a catastrophe. James W. Hoyt and his influence. My early love for classical studies. Discovery of Scott's novels. ``The Gallery of British Artists.'' Effect of sundry conventions, public meetings, and lectures. Am sent to Geneva College; treatment of faculty by students. A ``Second Adventist'' meeting; Howell and Clark; my first meeting with Judge Folger. Philosophy of student dissipation at that place and time. -
Tompkins County Public Library Assigned Branch: Ithaca - Tompkins County Public Library (TCPL) Collection: Local History (LH)
TOMPKINS COUNTY Navigating A Sea Of Resources PUBLIC LIBRARY Title: The first hundred years : a history of the Cornell Public Library, Ithaca, New York, and the Cornell Library Association, 1864-1964. Author: Call number: LH-CASE 027.409 Peer Publisher: [Ithaca, N.Y.?] : [s.n.] 1969. Owner: Ithaca - Tompkins County Public Library Assigned Branch: Ithaca - Tompkins County Public Library (TCPL) Collection: Local History (LH) Material type: Book Number of pages: 1 30 pages THE FIRST HUNDRED YEARS A HISTORY OF THE CORNELL PUBLIC LIBRARY Ithaca, New York and the CORNELL LIBRARY ASSOCIATION 1864 - 1964 by Sherman Peer THE AUTHOR It's good to think of the new library so well organized and increasing in service. I am happy to have lived to see it functioning fully and so well received by the people of Tompkins County. Letter from Sherman Peer, dated February 2?, 19^9, to Mrs. John Vandervort, chairman of the trustees of the Tompkins County Public Library. Sherman Peer searched the records of the Cornell Library Association, many other written sources, and his own rich memories to write this history. A prominent Ithaca attorney who enjoyed writing and story-telling, Mr. Peer completed his work on it in 1964, when he was 81 years old. The epilogue was written by Mary Tibbets Freeman, and the manuscript was prepared for presentation at the formal dedication of the Tompkins County Library Building on April 20, 19&9. The historian also shaped the library's history by assisting in its successful rebirth as a public institution in its second century. He was convinced that the Cornell Public Library, operated since 1866 by the private Cornell Library Associa tion founded by Ezra Cornell, needed public funds for a new building and continuing support. -
Guest Artist Recital, Luby Symposium
2016 Luby Violin Symposium Guest Artist Recital Kevork Mardirossian, violin Lee Phillips, piano Wednesday, May 18, 2016 7:30 PM Person Recital Hall Program Sonata in D Major, HWV 371 (1681) George Frideric Handel Affetuoso (1685-1759) Allegro Larghetto Allegro Violin Sonata No. 2 in A Major, Op. 100 Johannes Brahms Allegro amabile (1833-97) Andante tranquilo – Vivace – Andante Allegretto grazioso Intermission Sonata No. 1 in G Minor for violin solo, BWV 1001 J.S. Bach Adagio (1685-1750) Fuga Suite Populaire Espagnole (1926) Manuel De Falla/arr. Paul Kochanski El paño moruno (1876-1946/1887-1934) Nana Canción Polo Asturiana Jota Tzigane (1924) Maurice Ravel (1875-1937) Special thanks to the UNC Summer School and Dean Jan Yopp, the UNC Music Department and Chair Louise Toppin, and Susan Klebanow. About the Luby Violin Symposium Named in honor of its founder, violinist and former UNC professor Richard Luby, the Symposium offers participants an intensive one-week immersion focused on individual instrumental and musical growth within the context of a supportive and nurturing atmosphere. Previously directed by Richard Luby and Fabian Lopez, the Symposium is in its eighth summer. The Symposium includes private lessons masterclasses student performances faculty performances guest artist performances HIP Bach perspectives body awareness methods practice techniques performance psychology All course activities take place on the beautiful campus at the University of North Carolina at Chapel Hill in the Kenan Music Building and Person Hall. The Symposium is supported by the UNC Music Department, sponsored as a course by the UNC Summer School, and by donations which support student scholarships, activities, and artists. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 North! Z eeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9130640 The influence of Leonard B. Smith on the heritage of the band in the United States Polce, Vincent John, Ph.D. -
Toscanini SSB Sib6
STAR SPANGLED MUSIC EDITIONS The Star-Spangled Banner for Orchestra (1943, revised 1951) Original Tune By JOHN STAFFORD SMITH Arranged and Orchestrated By ARTURO TOSCANINI Full Score Star Spangled Music Foundation www.starspangledmusic.org STAR SPANGLED MUSIC EDITIONS The Star-Spangled Banner for Orchestra (1943, revised 1951) Original Tune By JOHN STAFFORD SMITH Arranged and Orchestrated By ARTURO TOSCANINI 06/14/2014 Imprint Star Spangled Music Foundation www.starspangledmusic.org Star Spangled Music Editions Mark Clague, editor Performance materials available from the Star Spangled Music Foundation: www.starspangledmusic.org Published by the Star Spangled Music Foundation Musical arrangement © 1951 Estate of Arturo Toscanini, used by permission This edition © 2014 by the Star Spangled Music Foundation Ann Arbor, MI Printed in the U.S.A. Music Engraving: Michael-Thomas Foumai & Daniel Reed Editorial Assistance: Barbara Haws, Laura Jackson, Jacob Kimerer, and Gabe Smith COPYRIGHT NOTICE Toscanini’s arrangement of “The Star-Spangled Banner” is made in cooperation with the conductor’s heirs and the music remains copyrighted by the Estate of Arturo Toscanini ©1951. Prefatory texts and this edition are made available by the Star Spangled Music Foundation ©2014. SUPPORT STAR SPANGLED MUSIC EDITIONS This edition is offered free of charge for non-profit educational use and performance. Other permissions can be arranged through the Estate of Arturo Toscanini. We appreciate notice of your performances as it helps document our mission. Please consider making a tax-deductible donation to the Star Spangled Music Foundation to support this effort. The Star Spangled Music Foundation is a 501(c)(3) non-profit organization. -
MUSIC DIRECTORS 100 Years Of
TABLE OF CONTENTS “A Hero’s Journey: Fun & Games .......................6 Beethoven & Prometheus, Grades 4-8 . 2 Fan Mail ...........................7 Civil Rights: Remembering Youth Orchestra ....................8 Dr. Martin Luther King Jr., Grades 6-12 . 3 Children’s Chorus ...................8 See the Sounds. 4 Youth Chorus. .8 Conductor of the Orchestra ............5 Family Concerts ....................8 2017-18 Season Guide for Young Concert-goers MUSIC DIRECTORS 100 Years of NIKOLAI SOKOLOFF 1918-33 The Cleveland Orchestra!! 2017-2018 marks the 100th season of The Cleveland and dismissal pro cess (where every bus and corresponding Orchestra! You may not realize that by coming to school group gets a number) was established in 2000 to a Cleveland Orchestra Education Concert you are man age traffic and insure students’ safety. There are many part of a great Cleveland tradition! Students have more cars on the road today than there ARTUR RODZINSKI were in the 1930’s! 1933-43 been attending Cleveland Orchestra concerts since 1918! Ms. Lillian Bald win, the Orchestra’s first Ed u ca tion Director, pioneered the In the be gin ning, The Cleve land Or ches tra performed format of ‘educational concerts’ we concerts in com mu ni ty cen ters and sev er al area schools, know today. She developed extensive including East Tech and West Tech High Schools in study ma te rials so students could be Cleveland, Shaw High School in East Cleveland, and knowl edge able about the music they Lakewood High School. By 1920 audienc es be came too would hear at the concerts. (Instead large to accommodate in school settings and teachers and of read ing The Score as you are now, students be gan to trav el to hear The Cleve land Orchestra, ERICH LEINSDORF students read Ms. -
Campus Landscape Notebook
CAMPUS LANDSCAPE NOTEBOOK Campus Planning Office May 2005 ACKNOWLEDGMENTS The Campus Landscape Notebook, 2005, was produced in the Cornell Campus Planning Office under the direction of the University Planner, Minakshi Amundsen. John Ullberg, Landscape Architect, composed text, provided photographs and many graphics. Illiana Ivanova, graphic designer, composed and formatted content and created graphics as well. Andrew Eastlick produced campus base maps. Craig Eagleson provided both technical support and graphic advice. Many others have contributed to the project by editing, researching and advising. Among them are Laurene Gilbert, Ian Colgan, Jim Constantin, Dennis Osika, Frank Popowitch, Peter Karp, Don Rakow, Helen Baker, Craig Eagleson, Phil Cox, Jim Gibbs and Kent Hubbell. Photo Credits p2- Libe Slope White Oak- Robert Barker, Cornell University Photography p5- Aerial view of campus- Kucera International, Inc. All other aerial views except otherwise noted- Jon Reis (www.jonreis.com) CAMPUS LANDSCAPE NOTEBOOK INTRODUCTION S E C T I O N 1 THE CAMPUS LANDSCAPE, PAST TO PRESENT ORIGINS. 9 HISTORY AND EVOLUTION. 11 CHRONOLOGY . 21 FUTURE . 23 THE CAMPUS EXPERIENCE . 25 S E C T I O N 2 LANDSCAPE SYSTEMS AT CORNELL PHYSIOGRAPHY . 31 THE OPEN SPACE SYSTEM . .33 THE WORKING LANDSCAPE. .35 LINKS. .37 GEOMETRY. 39 ARCHITECTURE. .41 WAYFINDING. .45 VIEWS. 47 LANDSCAPE VOCABULARY. 49 LANDMARKS. .55 SUMMARY. .59 INTRODUCTION Landscape has meaning. The quality and meaning of the living and learning experience at Cornell are fundamentally related to the quality of the campus environment. For six years a political prisoner of the communist By any measure Cornell’s is a remarkable landscape - deep wild gorges, government in Laos, the former Laotian official said lakes, cascades, noble buildings set among noble trees, expansive views he was sustained by memories of Cornell Univer- all contribute to a special presence that sets Cornell apart from its peers. -
THE MAN WHO LAUGHS / 1927 (O Homem Que Ri)
CINEMATECA PORTUGUESA-MUSEU DO CINEMA REVISITAR OS GRANDES GÉNEROS - A COMÉDIA (PARTE III): O RISO 2 de dezembro de 2020 THE MAN WHO LAUGHS / 1927 (O Homem Que Ri) um filme de Paul Leni Realização: Paul Leni / Argumento: J. Grubb Alexander, segundo o romance “L’ Homme Qui Rit” de Victor Hugo, adaptado por Bela Sekely / Fotografia: Gilbert Warrenton / Direcção Artística: Charles D. Hall, Joseph Wright, Thomas F. O’Neill / Figurinos: David Cox, Vera West / Montagem: Maurice Pivar, Edward Cahn / Conselheiro Técnico: Professor R.H. Newlands / Intérpretes: Conrad Veidt (Gwynplaine), Mary Philbin (Dea), Olga Baclanova (Duquesa Josiana), Josephine Crowell (Rainha Anne), George Siegmann (Dr. Hardquannnone), Brandon Hurst (Barkilphedro, o bobo), Sam De Grasse (Rei James), Stuart Holmes (Lord Dirry-Noir), Cesare Gravina (Ursus), Nick De Ruiz (Wapentake), Edgar Norton (Lord Alto Conselheiro), Torben Meyer (“Comprachicos”), Julius Molnar Jr. (Gwynplaine, em criança), Charles Puffy, Frank Puglia, Jack Goodrich, Carmen Costello, Zimbo (Homo, o cão-lobo) Produção: Carl Laemmle (Universal) / Cópia: 35mm, preto e branco, mudo com intertítulos em inglês, legendado eletronicamente em português, 132 minutos, a 22 imagens por segundo / Estreia Mundial: Cinema Central, Nova Iorque, em 27 de Abril de 1928 / Estreia em Portugal: Condes, em 21 de Janeiro de 1930. Acompanhamento ao piano por João Paulo Esteves da Silva _____________________________ Se Paul Leni não tivesse sido um grande realizador, bastaria o trabalho como “cenógrafo” para lhe reservar um lugar na história do cinema, à semelhança de um Mitchell Leisen, um William Cameron Menzies, um Lazare Meerson, num estilo de trabalho cuja tradição ainda hoje se encontra num Dean Tavoularis, por exemplo. -
Enrico Caruso
NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’. -
10-06-2018 Aida Mat.Indd
Synopsis Act I Egypt, during the reign of the pharaohs. At the royal palace in Memphis, the high priest Ramfis tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to command the Egyptian army. He is in love with Aida, the Ethiopian slave of Princess Amneris, the king’s daughter, and he believes that victory in the war would enable him to free and marry her. But Amneris also loves Radamès and is jealous of Aida, whom she suspects of being her rival for Radamès’s affection. A messenger brings news that the Ethiopians are advancing. The king names Radamès to lead the army, and all prepare for war. Left alone, Aida is torn between her love for Radamès and loyalty to her native country, where her father, Amonasro, is king. In the temple of Vulcan, the priests consecrate Radamès to the service of the god Ptah. Ramfis orders Radamès to protect the homeland. Act II Ethiopia has been defeated, and in her chambers, Amneris waits for the triumphant return of Radamès. Alone with Aida, she pretends that Radamès has fallen in battle, then says that he is still alive. Aida’s reactions leave no doubt that she loves Radamès. Amneris is certain that she will defeat her rival. At the city gates, the king and Amneris observe the victory celebrations and praise Radamès’s triumph. Soldiers lead in the captured Ethiopians, among them Amonasro, who signals his daughter not to reveal his identity as king. Amonasro’s eloquent plea for mercy impresses Radamès, and the warrior asks that the order for the prisoners to be executed be overruled and that they be freed instead. -
Extensions of Remarks E1637 EXTENSIONS of REMARKS
October 2, 2000 CONGRESSIONAL RECORD Ð Extensions of Remarks E1637 EXTENSIONS OF REMARKS HONORING MARK PEARSON Ms. Newton has recently been named Ele- trombones, each section has its own magical mentary School Teacher of the Year for Fay- sound but still blends modestly with the whole HON. SCOTT McINNIS ette County. Carrie Newton has worked hard of the Orchestra. OF COLORADO to ensure that elementary school students de- A discussion of the grandeur of the Cleve- IN THE HOUSE OF REPRESENTATIVES velop a first-rate academic foundation that will land Orchestra is hardly complete without Monday, October 2, 2000 lead them to realize their full potential in their mention of its magnificent home, Severance future endeavors. Hall. The beautiful, ornate concert hall has just Mr. MCINNIS. Mr. Speaker, I would like to I join our community in recognizing an out- undergone a two-year, $36 million renovation take this moment to honor the considerable standing teacher who has contributed years of and expansion. The goal of the project was to achievements of Mark Pearson. Mark recently dedicated teaching at Lansdown Elementary. preserve Severance Hall's grace and architec- received recognition at Wilderness 2000, a Ms. Newton is the kind of teacher that every tural integrity. Thus, the original detailing of conference on wilderness issues, honoring parent and child wishes forÐan educator who the Hall has been restored, and its legendary him for his dedicated work in the wilderness knows how to engage her students and moti- acoustics have been retained and enhanced. field. vate them to learn. It is a pleasure to recog- Mr.