MUSICAL NOTES. Orchestra, at Long Beach, Are Deservedly Praised
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Rockland Gazette : October 14, 1880
'he Rockland Gazette. Gazette Job Print I PUBLISHED f.\ERY THURSDAY AFTERNOON bY ESTABLISHMENT. Having every facility in Presses, Type and Material O SE & PORTER. — which we are constantly making additions, w« piepared tv execute with promptness and good 2 I O Matin S treet. every variety of Job Printing, Including Town Reports, Catalogues, By-La^ft* Posters, Shop Bills, Hand Bills, Pro T E R 3*1 H i r paid strictly in advance—l>er«nnum, $2.00. grammes, Circulars, Bill Heads, if payment is delayed o months, 2.26. Letter Heads, Law and Corpor 2.60. t paid till the close of the year, ation Blanks, Receipts, Bills few subscribe! a are expected to make the first of Lading, Business, Ad went in advance. “ dress and Wedding “Ko paper will be diacontlnu^*^ Cards, Tags, ire paid, unless at the option ofv^.he pubiish- Labels, ____ - Single copies five cents—for sale at tliec® cean*i ROCKLAND, MAINE, THURSDAY, OCTOBER 14, 1880. &c., j at the Bookstores. V O L U M E 3 5 . N O . 4 6 . PRINTING IN COLORS AND BRONZINO ’ &. POPE VO8E. J- B. PORTER- will receive prompt attention. were stopped, the wounded member ex left after everything was settled to finish A WEDDING IN CAIRO. desirable acquisitions. The eunuchs vainly [From our Regular Correspondent. M r ® . tracted, hut all bruised and bleeding. the hoy’s education, and the dear, brave endeavor to maintain order, and are nt no Our European Letter. harden f g f lm r . Eleanor’s fingers bound up tho lacerated girl would not let them tell tho young fel A Graphic Picture of the Ceremony iu an pains to enforce their wishes with modera hand in her own small handkerohief, the low how much it was. -
Vol. 4. Contents. No.2
Price, Its Cents. 53.76 Worth of MUSIC in This Number. Vol. 4. No.2. Contents. GENERAL ..........•......................... , ...• page 55 What Care I? (Poetry).-Comical Chords. EDITORIAL ...................................... page 56 Paragraphs.-The People's l\fusical Taste. l\fUSICAL ................ ........................ page 66 Piano Recitals at the St. Louis Fair. l\1ISCELLANEOUS ......... .. ..................... page 58 The Musician to His Love (Poetry) .-Major and Mmor. -Love and Sorrow (Poetry).-New York.-Pleyel. -Anecdote of Beethoven.-Donizetti's Piano -Forte. -l\fnsic and IUedicine.-Answers to Correspondents. -What the PTess Think of lt.-Smith and Jones. MUSIC IN THIS NUMBER. " Careless Elegance," Geo. Schleiffarth ......... page fi7 "Peep o' Day Waltz," Alfred von Rochow ...... page 70 " The Banjo," Claude Melnotte .........•........ page 72 " Greetings of Love" (Duet), Wm. Siebert ...... page 74 ~· 'l'hou'rt Like Unto a Flower," A. Rubinstein ... page 78 "Because 1 Do," J. L. Molloy .................... page 80 "Goldbeck's Harmony" .........................._ page Si KUNKEL BROS., Publishers, ST. LOUIS, MISSOURI. COPYRIGHT, KUNKEL BROS., 1S8l. 50 KUNKEL'S MUSICAL REVIEW, OCTOBER, 1881. "USED BY ALL THE GREAT ARTISTS" THE AJR'll'JI§'Jf§. AR'lfli§'Jf§, LIEBLING, HE~RY F. MILLE~ PI) NOS SHERWOOD, PERRY, PRESTON, ARE PRONOUNCED THE BEST HENRIETTA MAURER, BY '£HE MRS. SHERWOOD, HOFFMAN, Leadin Artists of the Present Time, PEASE, AND ARE USED Bl' THEM CHARLES R. ADAMS, P. BIUGNOLI, IN PUBLIC AND PRIVATE. CLARA LOUlSE KET"LOGG, ANNIE LOUISE CARY, EMMA TIIURSRY, These celebrated instruments arc the favorites, at1d are MARIE ROZE, used in the finest concerts in the principal cities of TOll! KARL, i\mericn. W. II. l<'ESSENDEN, The characteristir.s which have given these Pianos their l\1. -
Boston Symphony Orchestra Concert Programs, Season
INFANTRY HALL PROVIDENCE >©§to! Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, DECEMBER 28 AT 8.15 COPYRIGHT, 1915, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER ii^^i^"""" u Yes, Ifs a Steinway" ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? " It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to you, and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extr? dollars and got a Steinway." STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere 2>ympif Thirty-fifth Season,Se 1915-1916 Dr. KARL MUC per; \l iCs\l\-A Violins. Witek, A. Roth, 0. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet, H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Stilzen, H. Fiedler, A. -
I Have a Song to Sing O! Program.Pdf
Musical Numbers With Cat-like Tread, Upon Our Prey We Steal (The Pirates of Penzance) ...........................Ensemble I Have a Song to Sing, O! (The Yeomen of the Guard) ..................... James Mills and Sarah Caldwell Smith Am I Alone and Unobserved? (Patience)............................................... James Mills A British Tar (H.M.S. Pinafore) ................................Alex Corson, Albert Bergeret, Artistic Director Matthew Wages, David Wannen I’m Called Little Buttercup Wand’ring Minstrels (H.M.S. Pinafore) .............. Angela Christine Smith in We’re Called Gondolieri (The Gondoliers) ...................................Alex Corson and Matthew Wages Take a Pair of Sparkling Eyes (The Gondoliers) ...................................Alex Corson Oh, Better Far to Live and Die (The Pirates of Penzance) ................. Matthew Wages and Men Director: James Mills When All Night Long a Chap Remains (Iolanthe) ..........................................David Wannen Music Director & Conductor: Albert Bergeret Executive Producer: David Wannen Three Little Maids From School are We (The Mikado) .............................Rebecca Hargrove, Editor: Danny Bristoll Angela Christine Smith, Sarah Caldwell Smith Sarah Caldwell Smith, Soprano The Sun, Whose Rays are All Ablaze Rebecca Hargrove, Soprano (The Mikado) ..............................Rebecca Hargrove Angela Christine Smith, Contralto Here’s a How-de-do! Alex Corson, Tenor (The Mikado) ......................................Alex Corson, James Mills, Comic Baritone James -
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 ^ew riter face, while others may be fi’om 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 improperalig n m ent 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 comer 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 Nortfi Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9420996 Music in the black and white conununities in Petersburg, Virginia, 1865—1900 Norris, Ethel Maureen, Ph.D. -
Showstoppers! Soprano
LIGHT OPERA SHOWSTOPPERS – SHOWSTOPPERS! The list below is a guide to arias from the realm of light opera that are bound to get attention, as they require not only exquisite singing, but also provide opportunities for acting, so necessary in the HAROLD HAUGH LIGHT OPERA VOCAL COMPETITION. Some, although from serious works, are light in nature, and are included. The links below the title, go to performances on YouTube, so you can audition the song. An asterisk (*) indicates the Guild has the score in English. SOPRANO ENGLISH Poor Wand’ring One – Pirates of Penzance (Gilbert and Sullivan)* http://www.youtube.com/watch?v=5QRnwT2EYD8 The Hours Creep On Apace - HMS Pinafore (Gilbert and Sullivan)* http://www.youtube.com/watch?v=lGMnr7tPKKU The Moon and I – The Mikado (Gilbert and Sullivan)* http://www.youtube.com/watch?v=EcNtTm5XEfY I Built Upon a Rock – Princess Ida (Gilbert and Sullivan)* http://www.youtube.com/watch?v=aF_MHyXPui8 I Live, I Breathe – Ages Ago (Gilbert and Clay)* http://www.youtube.com/watch?v=b-HalKwnNd8 Light As Thistledown – Rosina (Shield) http://www.youtube.com/watch?v=9yrQ2boAb50 When William at Eve – Rosina (Shield) http://www.youtube.com/watch?v=-Vc50GGV_SA I Dreamt I Dwelt In Marble Halls – Bohemian Girl (Balfe)* http://www.youtube.com/watch?v=IoM1hYqpRSI At Last I’m Sovereign Here – The Rose Of Castile (Balfe)* http://www.youtube.com/watch?v=hswFzeqY8PY Hark the Ech’ing Air – The Fairy Queen (Purcell)* http://www.youtube.com/watch?v=NeQMxI1S84U VIENNESE Meine Lippen Sie Kussen So Heiss – Giuditta (Lehar) http://www.youtube.com/watch?v=p_kaOYC_Fww -
The Bellevue House, Which Opened in 1828, Was One of Newport's First
The Bellevue House, which opened in 1828, was one of Newport’s first grand hotels, providing an unprecedented level of hospitality, comfort, and luxury in the City-by-the-Sea. Image from John Ross Dix. A Hand-Book of Newport, and Rhode Island (Newport, R.I.: C.E. Hammett, Jr, 1852), 157. NEWPORT HISTORICAL SOCIETY. Music and Dancing at the “Queen of Resorts”: The Impact of the Germania Musical Society on Newport’s Hotel Period Brian M. Knoth We have the most absolute faith in steam factories, but we do not wish to see any more built in Newport…Let not the hum of spindles mock the music of the Sea .1 Music and dancing were integral features of Newport’s revival as a popular resort destination during its hotel period that began in the 1840s . Following a long period of economic depression, this era marked Newport’s emergence as a premier watering hole, with the establishment of several large well-appointed seaside hotels . At its height, in the 1850s, Newport was a world-class summer destination, known as the “Queen of Resorts ”. An extraordinary group of German musicians called the Germania Musical Society were instrumental to Newport’s flourishing resort economy during the 1850s . The significance of the Germania on Newport’s summer society, music culture, and resort traditions during the 1850s cannot be overstated . The Germania Musical Society first played in Newport in 1849, and for much of the next decade brought unrivaled musical experiences to Newport summer audiences for the first time, complementing a stunning natural environment and luxurious accommodations . -
Recitative in the Savoy Operas
Recitative in the Savoy Operas James Brooks Kuykendall In the early 1870s, London music publisher Boosey & Co. launched a new venture to widen its potential market. Boosey’s repertoire had been domestic music for amateur vocalists and pianists: drawing-room ballads and both piano/vocal and solo piano scores across the range of standard Downloaded from operatic repertory of the day, published always with a singing translation in English and often substituting Italian texts for works originally in French or German. Rossini, Donizetti, Bellini, and Verdi, Auber, Meyerbeer, Gounod, and Lecocq, Mozart, Beethoven, Weber, and Wagner all appeared in Boosey’s Royal Edition of Operas series, together http://mq.oxfordjournals.org/ with a handful of “English” operas by Michael William Balfe and Julius Benedict. The new effort supplemented this domestic repertory with one aimed at amateur theatricals: “Boosey & Co.’s Comic Operas and Musical Farces.” The cartouche for this series is reproduced in figure 1, shown here on the title page of Arthur Sullivan’s 1867 collaboration with Francis C. Burnand, The Contrabandista. Seven works are listed as part of the new imprint, although three by guest on May 11, 2013 of these (Gounod, Lecocq, and Offenbach’s Grand Duchess) had been issued as part of the Royal Edition. Albert Lortzing’s 1837 Zar und Zimmermann masquerades as Peter the Shipwright, and it appeared with an English text only. The new series may well have been the idea of Sullivan himself. He had been retained by Boosey since the late 1860s as one of the general editors for the Royal Edition. -
Boston Symphony Orchestra Concert Programs, Season 18, 1898
^5^5 BOSTON SYMPHONY OROIESTRK fcs season PRSGRHttrtE |l4J : New Scale, Style AA Believing that there is always demand for the highest possible degree of excellence in a given manufacture, the Mason & Hamlin Company has held steadfast to its original principle, and has never swerved from its purpose of producing instruments of rare artistic merit. As a result the Mason & Hamlin Company has received for its products, since its foundation to the present day, words of greatest commendation from the world's most illustrious musicians and critics of tone. Since and including the Great World's Exposition of Paris, \ 867, the instruments manufactured by the Mason & Hamlin Company have received, wherever exhibited, at all great world's expositions, the HIGHEST POSSIBLE AWARDS. SEND FOR CATALOGUE. mm & ipilm €0. BOSTON. NEW YORK. CHICAGO. Retail Representatives X^m^y 146 BOYLSTON STREET, BOSTON. Boston Symphony Orchestra. MUSIC HALL, BOSTON. EIGHTEENTH SEASON, J> J> J> 1893-99. J> J> J> WILHELM GERICKE, Conductor, r*j*ooi*iV]M:]V£K^ OF THE * FOURTEENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP.^** FRIDAY AFTERNOON, FEBRUARY 3, AT 2.30 O'CLOCK. SATURDAY EVENING, FEBRUARY 4. AT 8.00 O'CLOCK. PUBLISHED BY C. A. ELLIS, MANAGER. (489) Steinway & Sons, /lanufacturers Grand and ! \ j^T £ \ ^L of PIANOS/\1^\J^ Upright Beg to announce that they have been officially appointed by patents and diplomas, which are displayed for public inspection at their warerooms, manufacturers to His riajesty, NICOLAS II., THE CZAR OF RUSSIA. His Majesty, WILLIAM II., EMPEROR OF GERMANY and THE ROYAL COURT OF PRUSSIA. -
GILBERT and SULLIVAN: Part 1
GILBERT AND SULLIVAN: Part 1 GILBERT AND SULLIVAN Part 1: The Correspondence, Diaries, Literary Manuscripts and Prompt Copies of W. S. Gilbert (1836-1911) from the British Library, London Contents listing PUBLISHER'S NOTE CONTENTS OF REELS CHRONOLOGY 1836-1911 DETAILED LISTING GILBERT AND SULLIVAN: Part 1 Publisher's Note "The world will be a long while forgetting Gilbert and Sullivan. Every Spring their great works will be revived. … They made enormous contributions to the pleasure of the race. They left the world merrier than they found it. They were men whose lives were rich with honest striving and high achievement and useful service." H L Mencken Baltimore Evening Sun, 30 May 1911 If you want to understand Victorian culture and society, then the Gilbert and Sullivan operas are an obvious starting point. They simultaneously epitomised and lampooned the spirit of the age. Their productions were massively successful in their own day, filling theatres all over Britain. They were also a major Victorian cultural export. A new show in New York raised a frenzy at the box office and Harper's New Monthly Magazine (Feb 1886) stated that the "two men have the power of attracting thousands and thousands of people daily for months to be entertained”. H L Mencken's comments of 1911 have proved true. Gilbert & Sullivan societies thrive all over the world and new productions continue to spring up in the West End and on Broadway, in Buxton and Harrogate, in Cape Town and Sydney, in Tokyo and Hong Kong, in Ottawa and Philadelphia. Some of the topical references may now be lost, but the basis of the stories in universal myths and the attack of broad targets such as class, bureaucracy, the legal system, horror and the abuse of power are as relevant today as they ever were. -
February, 1941
Library of The Harvard Musical Association Bulletin No. 10 February, 1941 Library Committee EDWARD B. HILL QUINCY PORTER ALEXANDER W. WILLIAMS RICHARD W. DWIGHT Director of the Library and Custodian of the Marsh Room Library and Marsh Room Marsh Room CHARLES R. NUTTER MURIEL FRENCH PATIENCE POWERS To the Members of the Association: The attention of members is called to an article by President Guild in this issue. * * * * Earlier Bulletins stated that one project of the Association on its organization was the formation of a Library. This project was begun at once, pursued with vigor, and often discussed at Directors’ meetings. Perhaps this concentrated energy was partly due to the fact that a Library was the one project among their several projects which, because it concerned themselves only, could be put through by themselves. For several years there were no funds available for the Library. Consequently accessions depended for a considerable time on the generosity of members, who were constantly urged to give music and books. From some members were received fine and for those days costly editions of classical music. Henry Gassett, on a trip abroad, brought back much music; Nathan Richardson gave a complete set of Bach’s works in 46 volumes, published by the Bach Society in Leipzig. This last was a remarkable gift, for the 46 volumes were costly and beautifully bound. Among other donors were F. H. Jenks; Henry Ware, Jr.; H. K. Oliver, who presented 25 volumes of English Glees collected by the Salem Glee Club and apparently the only edition; the Musical Antiquarian Society of London, which donated copies of “their beautiful and highly valuable publications”; Oliver Ditson and Company, who in 1860 presented 122 volumes of music and books; Joseph Coolidge, who in 1881 gave 50 volumes of music; and Arthur Foote, who during his membership gave much valuable music and some books. -
Mississippi Opera Association–Artistic Excellence
2 MISSISSIPPI OPERA 4 MISSISSIPPI OPERA FROM THE BOARD PRESIDENT elcome to the fall production of Mississippi Opera’s 73rd season. Thank you for investing Win Mississippi’s only professional opera company, the 9th oldest in the United States. Our productions would not be possible without the commitment of our supporters, performers, Guild volunteers, individual and corporate contributions. I encourage you to be part of something truly magical by renewing or purchasing your season tickets as soon as possible, I can assure you, that the best seats will go quickly. Nothing touches my soul like opera—music, theatre and dance all rolled into one glorious art form. Opera provides avenues for music lovers of all ages. Whether you know opera from years of study or a casual passing, the outstanding national and local voices, together with members of the Mississippi Opera Orchestra and Chorus are dedicated to sharing their talents with you—our valued patron. The season has something for every music lover, the fun series at Duling Hall; which runs the gambit from Frank Sinatra to Nat King Cole to Carole King. Coming in April, 2019 be ready for one of the world’s favorite operas, Puccini’s beautiful La bohème at Thalia Mara Hall. There are opera stars, leads and divas, but no one plays a more important part than you. Please consider making a tax-deductible charitable contribution or ponder the possibility of a legacy gift of a life insurance policy or estate gift. Elbert Bivins Board President Mississippi Arts Commission 2017 Governor’s Arts Awards Recipients The Mississippi Opera Association–Artistic Excellence MISSISSIPPI OPERA 5 FROM THE GENERAL DIRECTOR Dear Friends of Mississippi Opera, It is my pleasure to welcome you to our 73rd season of the Mississippi Opera.