Music Trade Review -- © Mbsi.Org, Arcade-Museum.Com -- Digitized with Support from Namm.Org

Total Page:16

File Type:pdf, Size:1020Kb

Music Trade Review -- © Mbsi.Org, Arcade-Museum.Com -- Digitized with Support from Namm.Org Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org THE MUSIC TRADE REVIEW really precious things that Leschetizky de- remain in Russia during the present year. NOTWITHSTANDING his great repu- velops in his pupils. When Siloti came here it was on his own tation abroad, Ernest Van Dyck has And then there is the habit he is always responsibility. In finding engagements not succeeded in making a great or endur- counseling- of practicing away from the he was successful enough to warrant a ing impression here. As an impersonator piano, says Cleveland Moffctt in the Ladies' second season. The other pianist who of character—an artist with a complete Home Journal, not practicing with the hands, has decided not to come here is a Hollander command of all the resources of expres- but with the mind, by thinking out apiece, who made his particular reputation as a sion—it is admitted that he has few peers, note by note, passage by passage, until a player of Bach. He was to have played but it has been found impossible to over- distinct and original idea of it has been ob- here first in January. The influx of pian- look the vocal side of his endeavors. In tained. This work may be done, he says, ists this year was largely due to the knowl- this connection one of our leading critics at almost any time, once the habit is edge that Paderewski would remain in very correctly remarks: A great reputa- formed, and may be done with or without Europe. That the field is already over- tion abroad does not necessarily insure the notes. crowded is apparent, and the success of success of an artist in America. Proofs of * some of the eminent foreigners who have this fact are to be found in the records of JV/IISS NEALY STEVENS, the well- appeared here has not been sufficient to every musical season in New York. Cases * * known pianist, has the courage of encourage others to come. This is, above in point which may be cited are those of her convictions. In a recent talk she the Ravogli sisters, highly esteemed in says: " It is quite a popular fad nowadays, London; Marie Van Zandt, pet of the to say that one may receive as fine a musi- St. Petersburg public; Sybil Sanderson, cal education in America as can be secured Sigrid Arnoldson, Tamagno and Las- in Europe. We certainly have some very salle. These few names will suffice as brilliant musicians, and music as an art illustrations. They were all failures— is taking high rank and some of the cities in a greater or lesser degree—in spite are becoming noted as musical centers. of their established positions in the I may become unpopular in assuming my operatic art.of the old world. position, but there is a certain air and finish Another name of importance may to be obtained under the masters of Europe now be added to this list—that of Ernest that is not obtainable in America. I do Van Dyck. In Europe he is considered not think that this will always be so, and to be one of the great tenors of the I believe that in time Europe will look to day. In London and Paris his visits are America in music as it does in.other things regarded as gala events. In Vienna he in which this country has taken the lead- is a fixture. At the Bayreuth Fest- ing place. spielhaus he is accepted as the highest " One thing is certain, and that is that exponent of the tenor heroes of Wag- it is much harder to obtain a reputation ner, and the role of Parsifal is held in and recognition here than there. In Amer- sacred trust for him. New York has ica the people appreciate only the very now made his acquaintance, and the best, while in Europe, and Germany es- result is a feeling of surprise. It is pecially, they appreciate what you attain difficult to understand how he has be- and do not blame you for what you do not come famous. It would seem as if possess. There are undoubtedly splendid such fame as has been awarded to him opportunities here, if the people would should be reserved for one in whose only take advantage of them. Those who NICHOLAS SF.r.ASTIAX. artistic equipment the several essentials hope to obtain a finished musical education were more evenly balanced. all, true of the pianists, who must do should first take every advantage of the * opportunities offered in this country. As something little short of wonderful if they Patti said, the people of this country want meet with popular success in any great THE Emil Paur Sunday concerts have to obtain the art without the education. I degree. * been abandoned for the present. It * think that our lack of elemental training is was found that the competition of the Opera House, with its many available so- due to our ambitions—the people are al- VjICHOLAS SEBASTIAN, whose coun- loists of rank, was too strong. It is said ways wanting something new. They want * ^ terfeit presentment appears herewith there is a plan under consideration to in- too many fads. is one of the great favorites of the season stitute a series of Sunday afternoon con- "The people of Germany are very in musical and social circles. He is a certs. grateful, while those of America are the promising tenor, well and favorably known reverse. I think this difference is attrib- in London. Since his arrival here he has utable to the long and thorough schooling sung with great success at a number of A DELINA PATTI and Sibyl Sanderson of the German people. You should em- private musicales. He will soon make his ** are the two richest prima donnas of phasize the fact that students should se- appearance in Cleveland, O., Ann Arbor, the time. Mine. Patti's fortune came from cure all that this country affords before Mich., and with the Cecilia Society in De- a long and active career, which has scarce- going abroad to study, which gives them troit, Mich., under Henry Wolfsohn's ly yet terminated, as her concert appear- more time and greater opportunity to re- management. ances from time to time in London are ceive the rounding and finishing of the old highly successful. An attempt was made not long ago to persuade her to come next world masters without having to go ASCAGNI,at an interview with Queen year to this country, but she was unwilling through the text books after arriving M Margherita, the other day, said that to take the journey. Miss wSanderson will there." his next opera, to be ready about a year inherit her money through the death of her hence, would be entitled " Le Maschere," husband, Antonio Terry. By the terms MEW YORK is not to hear two pianists the libretto again being by Illica. *• ^ who expected to return this winter. of his separation from his first wife, Mr. One of these is Siloti, who appeared here Terry's daughter is to live with her grand- late last spring and made such a success JOSEF HOFMANN is one of the few mother, although the father and mother that he might have become famous if his ^ pianists who do not believe in ex- were both to see her at certain times. She career had begun earlier in the winter. cessive practice. He says that overpractic- is the only person to share with the second Just as he was beginning to be most talked ing "makes one's mind grow stupid and Mrs. Terry the large estate he left. The about the season ended and the time for confused and naturally one's fingers follow first Mrs. Terry was a woman of wealth, pianists was over. It is said that he will the brain," and left a fortune to her daughter. Miss.
Recommended publications
  • Adobe Photoshop
    t- Yearly Subscription, Twelve Numbers, $2.00 Single Number, 35 cents. UN MAY, 1900 , Vol. 23. No. 5. 'Whole No. 269 ·32 PACES OF MUSIC AND MUSICAL LITERATURE IN THIS NUMBER. PIANO SOLOS. SCHILLINCER, FRITZ, Love's Creeting. SONG. FELDEN, OSCAR. Drea~s of the Past. PIANO STUDIES. CURLITT·SIDUS • .Slumber Song. Op. 101," No. 6. SCHIL~INCER, CHARLES. Technical Exercises. Copyright, Kt1NKEL BROS., 1900. ~ KUNKEL'S MUSICAL REVI~W, MAY, 1900. THE CELEBRATED Head.s the List of the Highest=Orade Pianos, and Lock;:~ Are at present Prefe~red by .lh~!t!P' Stable Doo:r ~ the Most the- Leading Before the Horse ~ is stolen,~ f' Popular ~nd! Artists. Take a Box in the ~ Vaults of the f' Missou:ri Safe . SOHMER & CO., . Deposit Co~-- ~ NEW roRK WARERQOMS: While you have sometr SOHMER BUILDING, FIFTH AVENUE, CORNER 22d STREET. thing·to put in it, Equitable Building, JOHN FELD, Agent, 1901 St. Louis Ave., ST. LOUIS. CAUTI 0 N. The buying public will please not confound the genuine S-0-H-M=E-R Piano with one of a sirr1ilar sounding name of a cheap grade. -ESTABLISHED - IN NEW YORK 1875 IN CHICAGO 1889 ADVERTISE IN KUNKEL'S MU.SI~AL REVIE·W, ST. LOUIS, MO. HIGH GRADE ESTABLISHI!:D 1878. ISSUED MONTHLY, The Largest and Handsomest Musical Publication in the United States. ...--........._PIANOS Have:literally Bounded into Pop~larity. Circulation National, reaching the most1enlightened and cultivated homes in .the United 1States. AT MODERATE PRICE. Capacity, 300 per Month. ONLY FIRST-CLASS ADVERTISEMENTS INSERTED. Schaeffer Piano Mfg. Co .. Address all communications to KUNKEL BROTHERS, Factory, Riverview, Ills.
    [Show full text]
  • Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years
    BRANDING BRUSSELS MUSICALLY: COSMOPOLITANISM AND NATIONALISM IN THE INTERWAR YEARS Catherine A. Hughes A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2015 Approved by: Annegret Fauser Mark Evan Bonds Valérie Dufour John L. Nádas Chérie Rivers Ndaliko © 2015 Catherine A. Hughes ALL RIGHTS RESERVED ii ABSTRACT Catherine A. Hughes: Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years (Under the direction of Annegret Fauser) In Belgium, constructions of musical life in Brussels between the World Wars varied widely: some viewed the city as a major musical center, and others framed the city as a peripheral space to its larger neighbors. Both views, however, based the city’s identity on an intense interest in new foreign music, with works by Belgian composers taking a secondary importance. This modern and cosmopolitan concept of cultural achievement offered an alternative to the more traditional model of national identity as being built solely on creations by native artists sharing local traditions. Such a model eluded a country with competing ethnic groups: the Francophone Walloons in the south and the Flemish in the north. Openness to a wide variety of music became a hallmark of the capital’s cultural identity. As a result, the forces of Belgian cultural identity, patriotism, internationalism, interest in foreign culture, and conflicting views of modern music complicated the construction of Belgian cultural identity through music. By focusing on the work of the four central people in the network of organizers, patrons, and performers that sustained the art music culture in the Belgian capital, this dissertation challenges assumptions about construction of musical culture.
    [Show full text]
  • Wagnernieuws
    WagnerNieuws WagnerVrienden VZW Nummer 12 Juni 2015 Elisabethlaan 278 8400 OOSTENDE Voorwoord door de voorzitter [email protected] Beste WagnerVrienden zeker aangroeit. is er de interessante Meistersinger van Herheim www.wagnervrienden.be Op het einde van dit opera- Maar we blikken ook voor- in de Bastille. Veel om naar seizoen blikken we met uit op het nieuwe seizoen, www.facebook.com/ uit te kijken dus! wagnervrienden genoegen terug op een dat ook goed gevuld zal welgevuld werkjaar 2014- zijn. Reeds in september Maar eerst is er nog de Ondernemingsnummer: 2015. De concerten, voor- brengt Opera Vlaanderen zomer. Ik wens u namen 0846.548.989 drachten en operareizen Tannhäuser. Eveneens in het volledige bestuur een Rekeningnummer: worden blijkbaar door september bezoeken we deugddoende vakantie toe! BE28 3631 0687 2620 steeds meer mensen ge- een heel eigenzinnige BIC BBRUBEBB -Bernard Huyvaert smaakt, terwijl ook ons Rheingold in de Ruhtrien- Voorzitter WagnerVrienden ledenaantal traag maar nale. Later op het seizoen In dit nummer: Komende activitei- p. 2 ten De WagnerVrien- p.10 den raden aan... De WagnerVrien- p.12 den diepen het uit... De WagnerVrien- p.25 den waren er ook... Kalender 2015-2016 p.30 Colofon p.32 Nummer 12 Pagina 2 Komende activiteiten De vzw WagnerVrienden organiseert op regelmatige basis speciale activiteiten voor zijn leden: lezingen, concerten, ontmoetingen, uitstappen, … In deze rubriek vindt u het complete overzicht met alle nodige praktische informatie. WagnerActiviteit#10: Inleiding tot Tannhäuser door David Vergauwen | Vrijdag 11 september | ‘t Vosken (Gent) Begin september presenteert Opera Vlaanderen een nieuwe productie van Tannhäuser. De enscenering van Calixto Bieito zal zeker opnieuw voer voor discussie zijn.
    [Show full text]
  • Emmanuel Chabrier
    Emmanuel Chabrier Conférence de M. Alfred Bruneau de l’Institut Avec l’éminent concours de Mme Croiza et de M. Jean Doyen Faite le 16 février 1932 répétée le même jour publiée dans Conferencia, n°11, 15 mai 1933 Mesdames, Mesdemoiselles, Messieurs, Parmi nos poètes du son et du rythme victimes de leur propre génie et de l’incompréhension des foules, Emmanuel Chabrier occupa un rang incomparable. Je l’ai beaucoup connu, aimé, admiré ; j’ai assisté à ses déboire, à ses luttes ; j’ai reçu ses confidences et pénétré ses desseins. Je voudrais esquisser son image exacte, dégagée des erreurs empêchant souvent la postérité de voir les hommes célèbres tels qu’ils furent. Vous observerez de quel prix se payent maintes fois la joie et l’orgueil d’être un artiste. Chabrier nous quitta le 13 septembre 1894. Par conséquent, personne de la nouvelle génération ne peut se flatter de l’avoir aperçu. Sa vie fut une sorte de drame shakespearien, développé secrètement dans l’atmosphère d’allégresse prodigieuse qui émanait de tout son être. Je vous en ferai le récit, que j’illustrerai d’assez nombreux fragments de ses lettres. Ce sera, je crois, le meilleur moyen de vous y intéresser. Car mon cher Emmanuel ne se contenta pas de prendre place au milieu des plus grands musiciens de France et d’ailleurs. Il se montra l’un des plus merveilleux épistoliers que je sache. Il écrivait comme il parlait, comme il gesticulait, comme il composait, comme il jouait du piano. Une ligne tombée de sa plume, c’est lui-même, vibrant, exubérant, débordant de virils enthousiasmes et de magnifiques indignations, sublime et familier, tendre et brutal, gai jusqu’à l’exaspération du rire et de la fantaisie, enflammé jusque dans l’expression des tristesse et des douleurs.
    [Show full text]
  • Ernest Van Dyck Et Jules Massenet
    Ernest Van Dyck et Jules Massenet Un interprète au service d'un compositeur ISBN: 9782711625475 (pb) by Jean-Christophe Branger and Malou Haine PRICE: DESCRIPTION: $38.00 (pb) English summary: The present volume presents a collection of text concerning the relationship between the composer Jules Massenet and the tenor Ernest Van Dyck from the late nineteenth PUBLICATION DATE: century. This ensemble of documents enriches our knowledge concerning a composer and one of 27 May 2014 (pb) the most important performers of his time, but also allows us to understand forms of collaboration between a composer, his collaborators, and many theater directors from the Belle Époque. French BINDING: description: Le présent ouvrage rassemble de nombreux documents concernant Jules Massenet et Paperback le ténor belge Ernest Van Dyck, éminent interprète wagnérien, mais aussi créateur du rôle-titre de Werther en 1892. La relation entre ces deux artistes reste en effet singulière dans l'histoire de la SIZE: musique, car, outre son interprétation des rôles de Des Grieux (Manon) ou d'Araquil (La Navarraise), 6 x9 le ténor fournit au compositeur le livret d'un ballet, Le Carillon, créé quelques jours après Werther. De nombreuses sources méconnues, annotées et précédées d'une introduction, retracent cette PAGES: collaboration entre Massenet et son interprète qui s'étend entre 1890 et 1912 : correspondances, 228 transcription annotée du livret du Carillon et souvenirs dans lesquels le ténor évoque ses relations avec Massenet. L'ensemble enrichit la connaissance concernant un compositeur et un des PUBLISHER: interprètes majeurs de l'époque, mais permet aussi de cerner les rouages d'une collaboration entre Librairie Philosophique J.
    [Show full text]
  • Opera.Be De Collectie Yves Becko
    Opera.be De collectie Yves Becko Opera.beDe collectie Yves Becko Colofon Opera.be, de collectie Yves Becko Wettelijk depot: D/2006/2893/23 ISBN-10: 90-5130-544-3 Deze uitgave is ook beschikbaar in het Frans onder ISBN-13: 978-90-5130-544-9 de titel ‘Opera.be, la collection Yves Becko’. EAN: 9789051305449 NUR: 694 Een uitgave van de Koning Boudewijnstichting, Juni 2006 Brederodestraat 21, B-1000 Brussel, www.kbs-frb.be De Koning Boudewijnstichting heeft geprobeerd Coördinatie voor de Koning Boudewijnstichting: contact op te nemen met al wie copyright heeft op Anne De Breuck, Mathieu Molitor, Karolien Baeten de illustraties in deze publicatie. Indien er foto’s of kunstwerken werden afgedrukt zonder voorkennis van Auteur: Frédéric Lemmers de rechthebbenden, dan kunnen die zich wenden tot de Fotografie: Philippe de Formanoir Koning Boudewijnstichting, Brederodestraat 21, B-1000 Brussel. (+ 32 2 549 02 31 – [email protected]). Wetenschappelijke en artistieke leiding: Frédéric Lemmers Advies: Georges Cardol, Manuel Couvreur Muzikale bewerking: Marc Doutrepont (Equus) Perser: VTV Vormgeving: Bailleul Druk: Euroset nv Bestelling: [email protected], tel. +32 70 23 37 28 of fax +32 70 23 37 27 2 Discografische aantekeningen Inhoudsopgave Voorwoord 4 Yves Becko (23 februari 1943 - 10 augustus 2004) 7 Van cilinder tot langspeelplaat 16 De Becko collectie 30 Overzicht van de Belgisch lyrische kunst ten tijde van de 78-toerenplaat 60 Discografische aantekeningen 76 Legendes bij de illustraties 90 Meer dan 25 jaar in dienst van de samenleving 94 Fonds voor het Roerend cultureel erfgoed 95 3 Voorwoord De Becko collectie: 40 jaar passie voor de muziek! Yves Becko werkte vroeger al als raadgevend ingenieur voor de Koning Boudewijnstichting.
    [Show full text]
  • El "Parsifal" De Richard Wagner Y Sus Intérpretes En Bayreuth
    EL "PARSIFAL" DE RICHARD WAGNER Y SUS INTÉRPRETES EN BAYREUTH por EDUARD KLAMPFL EL "PARSIFAL" DE RICHARD WAGNER Y SUS INTÉRPRETES EN BAYREUTH por EDUARD KLAMPFL Editado en Viena 1908 ASSOCIACIÓ WAGNERIANA Apartado de Correos 1.159 08080 Barcelona www.associaciowagneriana.com E-mail: [email protected] ÍNDICE Reparto de las representaciones de "Parsifal" 4 Introducción 8 Hermann Winkelmann 13 Heinrích Gudehus 24 Ferdinand Jäger 30 Ernest van Dyck 34 Wilhelm Grüning 42 Willi Birrenkoven 46 Emil Gerhäuser 52 Alois Burgstaller 57 Erik Schmedes 62 Dr. Alfred von Bary 68 Fritz Rémond 71 Alois Hatiwiger 74 Conclusión 78 Los Artistas hasta la fecha de las REPRESENTACIONES DE "PARSIFAL" EN BAYREUTH Desde 1882 a 1906 Año: 1882 Parsifal: Hermann Winkelmann, Heinrich Gudehus, Ferdinand Jäger Amfortas: Theodor Reichmann Titurel: August Kindermann Gurnemanz: Emil Skaria, Gustav Siehr Klingsor: Anton Fuchs, Karl Hill Kundry: Amalia Materna, Therese Malten, Marianne Brandt Año: 1883 Parsifal: Hermann Winkelmann, Heinrich Gudehus, Amfortas: Theodor Reichmann Titurel: Anton Fuchs Gurnemanz: Emil Skaria, Gustav Siehr Klingsor: Anton Fuchs, Ernst Degele Kundry: Amalia Materna, Therese Malten Año: 1884 Parsifal: Hermann Winkelmann, Heinrich Gudehus, Amfortas: Theodor Reichmann Titurel: Anton Fuchs Gurnemanz: Emil Skaria, Gustav Siehr Klingsor: Anton Fuchs, Fritz Plank Kundry: Amalia Materna, Therese Malten Año: 1886 Parsifal: Hermann Winkelmann, Heinrich Gudehus, Amfortas: Theodor Reichmann, Eugen Gura, Karl Scheidemantel Titurel: Ernst Halper,
    [Show full text]
  • Wertherin Huebner French Opera at the Fin De Siecle
    WARNING OF COPYRIGHT RESTRICTIONS1 The copyright law of the United States (Title 17, U.S. Code) governs the maKing of photocopies or other reproductions of the copyright materials. Under certain conditions specified in the law, library and archives are authorized to furnish a photocopy or reproduction. One of these specified conditions is that the photocopy or reproduction is not to be “used for any purpose other than in private study, scholarship, or research.” If a user maKes a reQuest for, or later uses, a photocopy or reproduction for purposes in excess of “fair use,” that user may be liable for copyright infringement. The Yale University Library reserves the right to refuse to accept a copying order, if, in its judgement fulfillment of the order would involve violation of copyright law. 137 C.F.R. §201.14 2018 FRENCH OPERA AT THE FIN DE SIÉCLE Wagnerism, Nationalism, and Style Steven Huebner tu OXFORD UNIVERSITY PRESS Werther STAGECRAFT Massenet's delay in getting down to Werther in the early 1880s may have been caused partly by difficulties in extracting an opera from an epistolary novel. The succession of Werther's letters, mainly to his friend Wilhelm, traces the psycho- logical state of the protagonist along a downward curve of increasing despair and alienation, after his initial optimistic identification with resplendent Nature and elation during the first days with his beloved Lotte. Goethe's heroine, like Prévost's Manon, appears mainly through the eyes of her obsessive admirer. As with the figure of Manon, the stage would require Charlotte to have a larger degree of dramatic agency in her own right.
    [Show full text]
  • The Vocality of Sibyl Sanderson in Massenet's Manon and Esclarmonde Tamara D. Thompson
    The Vocality of Sibyl Sanderson in Massenet’s Manon and Esclarmonde Tamara D. Thompson Submitted to the Royal College of Music, London in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Musicology May, 2016 ii TABLE OF CONTENTS Page Figures iv Tables vi Examples vii INTRODUCTION 1 Research Aims and Objectives 1 Key Definitions 3 Sources and Methodology 4 Literature Review 14 Why Manon and Esclarmonde? 25 CHAPTER ONE SIBYL SANDERSON: LA BELLE CRÉATRICE 27 Biographical Information 27 Personality 34 Physical Appearance 39 CHAPTER TWO TRAINING LA BELLE SIBYL: THE ARTISTIC EDUCATION OF SIBYL SANDERSON 47 Conservatoire and California (1881–1885) 47 Paris (1885–1887) 56 Composers as Coaches (1887–1892) 78 Paris (1892–1896) 83 CHAPTER THREE VOCALITY: LA VOIX EST UN RAVISSEMENT 100 Sound 105 Characterisation 108 Vocal Demands in Manon 113 Vocal Demands in Esclarmonde 119 iii CHAPTER FOUR MANON: SANDERSON’S RE-CREATION OF THE RÔLE 128 Manon: History of the Opera 128 Manon: How Story and Staging Inform Vocality 136 Manon: Score Annotations 157 Musical Analysis: ‘Je suis encore tout étourdie’ 183 Musical Analysis of ‘Gavotte’ 206 Musical Analysis: ‘Fabliau’ 217 CHAPTER FIVE ESCLARMONDE: SANDERSON’S CREATION OF THE RÔLE 233 Esclarmonde: History of the Opera and Sanderson as la créatrice 233 Esclarmonde: How Story and Staging Inform Vocality 257 Musical Analysis: Esprits de l’air’ 278 Musical Analysis: Ah ! Roland ! 295 CONCLUSION 307 Research Questions and Answers 307 Contributions to Knowledge 311 Future Research Plans 316 BIBLIOGRAPHY 318 iv Figures Figure 1: List of Sources ..................................................................................................... 4 Figure 2: Letter excerpt ....................................................................................................
    [Show full text]
  • Viewed Möller’S Publication in the Zeitschrift Für Musikwissenschaft, August- September 1931, Pp
    J & J LUBRANO MUSIC ANTIQUARIANS Item 87 Joseph Haydn Autograph Letter Catalogue 80 AUTOGRAPH LETTERS OF COMPOSERS SIGNED PHOTOGRAPHS, &c. Part I: A-L 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory number (the 5-digit number in parentheses preceding the price) of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full.
    [Show full text]
  • The Strand Musical Magazine New Series
    THE STRAND MUSICAL MAGAZINE NEW SERIES A MUSICAL MONTHLY EDITED BY EMILE HATZFELD VOLUME 1 NUMBER 1 PUBLISHED SEPTEMBER 1898 Edited 2013 by David Trutt Los Angeles, California, USA email: [email protected] Web Site: www.haddon-hall.com 2 INTRODUCTION The Strand Musical Magazine was first published in January 1895 and continued through December 1897. Each monthly issue contained from sixty-four to eighty pages at a cost of sixpence. The first twenty or so pages were devoted to articles and short stories. The remaining pages contained various songs complete with music, and musical pieces — usually for piano. Publication was suspended in December 1897. Publication was resumed in September 1898 under the designation Strand Musical Magazine - New Series, at a cost of sixpence. The last issue was published in January 1900. The articles from the first issue of this series are included herein. MESSAGE BY STRAND MUSICAL MAGAZINE EDITOR EMILE HATZFELD IMPORTANT NOTICE In issuing the first number of the New Series of THE STRAND MUSICAL MAGAZINE, the editor begs to inform the trade and the public that the Magazine is now published at 84, New Bond Street, London, W., and that Messrs. George Newnes, Ltd., have no interest in nor connection with it whatever. ARTICLES OF NUMBER 1, NEW SERIES THE NIBELUNGEN RING IN LONDON Page 4 NICCOLO PAGANINI: A BIOGRAPHICAL SKETCH Page 9 THE HARROW SCHOOL MUSICAL SOCIETY BY G. F. OGILVIE Page 17 3 INTRODUCTION BY STRAND MUSICAL MAGAZINE EDITOR EMILE HATZFELD TO THE ORIGINAL SERIES IN 1895 The Strand Musical Magazine will contain illustrated articles on the great musical institutions of the world, written by their principals; interviews with celebrated musicians, short stories, humorous sketches, and other literary and artistic features, which, it is confidently expected, will prove highly interesting to the general as well as to the musical reader.
    [Show full text]
  • ARSC Journal
    THE YALE COLLECTION OF HISTORICAL SOUND RECORDINGS by Karol Berger Since about the turn of the century newly invented methods of sound recording began to be used regularly to document the activities of performing artists in many fields. In the last eighty years or so many ex­ amples of musical and theatrical performances, and also of literary readings and political oratory, have been preserved through the medium of recorded sound. The academic world's recognition of the educational and scholarly value of this material has been slow, and even today it is by no means universal. Yale University was one of the first institutions of higher learning and research in this country to per­ ceive this value and, as· the result of this percep­ tion, the Yale Collection of Historical Sound Record­ ings (HSR for short) was established as a part of the University Library in 1961. The Collection's purpose, which was formulated at its inception and which continues to guide its activities, is to collect, preserve, and make avail­ able for study sound recordings in the fields of the Western classical music and theater, poetry and literature, history and politics. It was decided initially not to collect jazz, popular, folk, or non­ Western music, because the University did not offer courses in these fields and also because they were represented in fine archives already in existence. Recently however, the Collection has accepted gifts of jazz and ethnographic records, since courses are now offered at Yale which may use such material. The man to whom HSR mostly owes its conception and continuing existence is Laurence C.
    [Show full text]