Politique, Littéraire Et Artistique PARAISSANT LE MARDI

Total Page:16

File Type:pdf, Size:1020Kb

Politique, Littéraire Et Artistique PARAISSANT LE MARDI QUARANTE ET UNIÈME. ANNÉE N° 2067 Bureaux : Rue de Lorraine, 22 Mardi 22 Février 1898 JOURNAL 13 JOURNAL HEBDOMADAIRE Politique, Littéraire et Artistique PARAISSANT LE MARDI ABONNEMENTS: RÉDACTION ET ADMINISTRATION INSERTIONS 22 — Rue de Lorraine — 22 MONACO FRANCE — ALGÙRIE — TUNISIE Réclames, 50 cent. la ligne ; Annonces, 25 cent. Un an, 12 fr. ; Six mois, 6 fr. ; Trois mois, 3 fr. Tous les ouvrages français et étrangers dont il est envoyé Pour les autres insertions, on traite de gré à gré Pour l'ÉTRANGER, les frais de poste en sus deux exemplaires sont insérés dans le journal Les Abonnements partent des ler et 16 de chaque mois Les manuscrits non insérés seront rendus S'adresser au Gérant, 22, rue de Lorraine il•■••••••....onommemmem+e,..... Monaco, le 22 Février 1S9S et Fillhard ; M. Georges de Dramard ; M. Hector A neuf heures, toutes les Sociétés musicales, de Angelis, régent du Vice-Consulat d'Italie ; etc. réunies sur la place, commencent leur exécution : NOUVELLES LOCALES A ce moment S. A. S. la Princesse, retardée par la Société Philharmonique joue la Sainte-Cécile, l'arrivée du train de Menton, traverse la vôie et marche ; la Chorale chante la Voix du Torrent; la Arrivée du Prince rejoint le Prince, tandis que les assistants s'écar- Fanfare des Régates joue la Paloma, habanera fort tent respectueusement. bien exécutée et très applaudie ; l'Estudiantina On savait depuis samedi que le Prince devait A leur sortie du salon, un immense vivat salue fait entendre un très joli morceau de M. Bellini : arriver le 21, aussi les préparatifs, un moment les Princes, et M. le Maire, s'avançant, prononce Estudiantina Monégasque; la Fanfare du Sport suspendus la semaine dernière, ont-ils repris de l'allocution suivante : Vélocipédique joue une charmante marche-polka plus belle, et dès hier matin toutes les maisons Monseigneur, Touring-Club, de son chef M. Lechner. de la Principauté étaient pavoisées et l'arc de C'est toujours avec joie, que la population de Monaco Et après, toutes les Sociétés réunies, soit 250 triomphe élevé à l'entrée de l'avenue de la Porte exécutants, choristes et instrumentistes, enlèvent Neuve recevait ses dernières décorations. Sur le salue le retour de son Bien-Aimé Souverain dans l'an- cien Château des Grimaldi. la Cantate au Prince, Fidèles au Drapeau, composée tympan faisant face à la gare se lit l'inscription par M. Bellini qui en dirige l'exécution. L'effet est suivante en giroflées blanches : Mais cette année, au lendemain d'un heureux événe- ment, fruit de la haute sagesse et de persévérants efforts superbe : les voix de femmes et d'enfants, avec A ALBERT ler de Votre Altesse Sérénissime, qui consolide et rehausse leurs reprises différentes, tranchent habilement NOTRE SOUVERAIN BIEN AIMÉ l'oeuvre de Votre Auguste Père et marque une ère sur la vigueur des voix masculines et apportent ET A SON AUGUSTE FAMILLE nouvelle de progrès et de prospérité pour la Principauté, une note douce et aimante à ce chant mâle et Des étendards et des écussons princiers couron- tous Vos sujets tressaillent d'une extraordinaire allé- patriotique. nent le monument, des ancres marines en fleurs gresse et se pressent sur Votre passage pour acclamer Nos souverains assistaient du balcon de la gale- encadrent la base du portique. leur Prince, leur Bienfaiteur. rie des Glaces à cet imposant concert, et ont donné Le train qui nous amène Son Altesse Sérénis- C'est à moi qu'échoit le grand honneur de Vous sou- chaque fois le signal des applaudissements. Après sime entre en gare à 2 h. 48. Un coup de canon haiter la bienvenue parmi nous et d'être l'interprète des le choeur les vivats redoublent. Les présidents, annonce l'arrivé du train sur le sol monégasque, sentiments qui animent la Commission Communale et vice-présidents et directeurs des sociétés présentes les cloches des trois paroisses répondent par de la population toute entière. ont ensuite l'honneur d'être reçus par Leurs Altes- joyeux carillons à ce signal d'allégresse. Jamais tàche ne me fut plus agréable. ses Sérénissimes qui leur adressent leurs félici- La foule — une foule compacte comprenant Permettez donc, Monseigneur, que le Maire de Votre tations. non seulement les sociétés et la population moné- fidèle Cité dépose aux pieds de Votre Altesse Sérénis- Après la réception, commence le feu d'artifice gasques, mais encore de nombreux étrangers - sime l'hommage ému de nos félicitations et de notre dû a M. Massimino. Composé avec art, il a par- couvre l'avenue et les abords de la gare, la place vive gratitude, et qu'il Vous affirme de nouveau et d'une faitement réussi. Mentionnons surtout les Armes d'Armes, les rampes qui accèdent au vieux rocher. manière solennelle, l'attachement et la fidélité inébran- Princières, motif en lances de couleur, le cycliste Le coup d'oeil est des plus pittoresques. Les cara- lable des Monégasques et de tous les habitants de la et enfin l'embrasement instantané de la place au biniers en armes font le service d'honneur dans la Principauté, à Votre Auguste Personne, à notre gra- moyen de fusées partant d'un mât dressé au cour de la gare. Le salon princier est orné avec cieuse Princesse et au Prince Héréditaire. centre. La retraite aux flambeaux a terniné la fête et beauçoup de goût de fleurs rares et de tentures. Le Prince remercie et serre la main au comte c'était un magnifique spectacle que ce cortège Il y a des spectateurs à toutes les fenêtres et jusque Gastaldi et les jeunes filles monégasques offrent imposant, chantant la Cantate et parcourant les sur les toits >Les photographes abondent, les ins- une gerbe de fleurs à Son Altesse Sérénissime qui rues de Monaco et de la Condamine aux acclama- tantanés font merveille. remercie de nouveau. Enfin les clairons sonnent tions de la foule. Le port éclairé par l'illumination Dans la cour et dans l'avenue sont rangés : la au champ , les équipages s'ébranlent , et les de l'Usine électrique de la Société des Bains, avec Commission Communale ayant à sa tête M. le drapeaux des Sociétés s'inclinent sur le passage la ceinture lumineuse des hauteurs qui l'encadrent Comte Gastaldi, maire et M. le Chevalier de Loth, de nos Souverains, salués par les cris répétés de : est fort beau à voir ; au loin, à l'Est, la villa de M. ler adjoint ; un groupe de jeunes filles vêtues de Vive Albert ler I Vive la Princesse Alice ! Camille Blanc, se détache comme une immense blanc avec écharpes rouges, la Société Philharmo- A la place du Palais même affluence qu'à la étoile sur le fond sombre des montagnes d'Italie. nique, la Chorale, le Sport Vélocipédique, la Condamine ; la Compagnie des Gardes, commandée A onze heures, tout est terminé dans le plus Société l'Étoile, l'Estudiantine ; la Société des par le Colonel Comte de Christen rend les hon- grand enthousiasme et aussi dans l'ordre le plus Régates, avec sa fanfare, se tenait au pied de l'arc neurs pendant que les canons lancent aux échos parfait. On doit donc de sincères félicitations aux de triomphe. Le service d'ordre était fait concur- les dernières notes de leur puissant concert. dévoués commissaires organisateurs de ces diver- remment par les sergents de ville et les pompiers Le soir, la fête recommence, et avec un tel ses réjouissances. formant une double haie de la gare jusqu'à entrain que jamais la Principauté n'en a vu de Cette superbe journée laissera dans l'esprit des Monaco, service de précaution plutôt car, quoiqu'il plus belle. Les illuminations, qui sont générales, milliers d'étrangers présents, le souvenir d'une y eût là des milliers de personnes, on n'a pas eu car,pas une habitation n'est restée dans l'ombre, manifestation grandiose et touchante à la fois, besoin de faire la plus petite observation, tant le donnent à tout le pays un aspect fantastique. Le témoignage inoubliable de l'inaltérable attache- respect est inhérent aux moeurs des habitants de merveilleux décor qui nous enveloppe forme à nos ment d'un peuple à la dynastie plusieurs fois Monaco. manifestations populaires un cadre unique, séculaires de ses Princes bien-aimés ! Le Prince, accompagné de M. le Comte de La- féerique, mais cette fois cela dépasse, en magnifi- motte d'Allogny son Chambellan, est reçu par. cences, ce qu'on a déjà vu à Monaco. S. Exc. M. Olivier Ritt, Gouverneur Général, qui Le Palais étincelle, la Caserne des Gardes Amy Robsart souhaite la bienvenue à Notre Auguste Souverain ; éblouit, les feux de bengale à couleurs variables Son Altesse Sérénissime est ensuite saluée par les incendient la place. Ce ne sont que festons de lan- Que de chemin parcouru depuis quatre ans ! personnes présentes, M. Dugué de Mac Carthy, ternes, qu'astragales de verres de couleur. Le C'est le 29 mars 1.894 qu'a été donnée sur la Secrétaire Général; M. le Chevalier Jean Blanchy, Palais du Gouvernement avec ses rangées lumi- scène de Monte Carlo, la première d' Amy- Robsart Secrétaire des Commandements ; M. Jolivot, Se- neuses rouges et blanches est d'un saisissant effet, et le nom du jeune compositeur de cet opéra est crétaire du Conseil d'Etat; M. Glaize, Consul de l'Hôtel-Dieu et tous les établissements scolaires devenu célèbre en ce court espace de temps, sur France ; M. Camille Blanc ; MM. Bornier, Wicht sont ornés avec goût. la plupart des scènes lyriques de France et d'Italie. JOURNAL DE MONACO Amy Robsart a commencé cette renommée que auteur, interprètes, orchestre ( que conduisait charme mystérieux — nous l'avons dit — dont le Moïna a définitivement consacrée.
Recommended publications
  • 2012 Conference Abstracts (In Order of Presentation)
    2012 Conference Abstracts (in order of presentation) Thursday afternoon Session 1a: Mapping Musical Modernities at the BBC (3rd Floor) Vaughan Williams, Boult and the BBC JENNY DOCTOR, SYRACUSE UNIVERSITY Much scholarly discussion in recent years has focused on re-mapping notions of biography, exploring in music not only composers, performers and librettists, but also patrons, concert organizers and programme builders. In parallel with this emerged new ideas of institutional biography, opening up questions that contextualized the institution in terms of its cultural role. With such expanded impressions of biography, identity and contribution in mind, I explore Ralph Vaughan Williams and the BBC, considering the composer’s broadcasting activities and opportunities in relation to his Corporation contacts, in particular his interactions with BBC Music Director and Chief Conductor Adrian Boult. “The Best Possible Performance”: The BBC’s 1942 Music Policy and the Problem of Swung Classics CHRISTINA BAADE, MCMASTER UNIVERSITY This paper examines the BBC’s 1942 ban on swung classics, locating it at the nexus of three strands of British cultural expression during the Second World War: 1. the vogue for Russian (and Soviet) culture; 2. the expansion of American-style popular music in Britain; and 3. the development of People’s War discourses of democracy, populism, and tolerance. This paper argues that the ban represented a direct attempt to combat the commoditization of music and to develop a more musical citizenry. The BBC’s adoption of repressive means for democratic aims demonstrated the challenges of music broadcasting in modern mass culture. “The Machine Stops” and the Musical Acousmêtre LOUIS NIEBUR, UNIVERSITY OF NEVADA, RENO In 1966, BBC Television broadcast an adaptation of E.M.
    [Show full text]
  • "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
    Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas.
    [Show full text]
  • Norbeck, Peters & Ford
    Norbeck, Peters & Ford 59 Congress Street Saint Albans, VT 05478-1611 USA 1-802-524-7673; 1-800-654-5302 Fax: 1 888 819 4831 email: [email protected] website: www.norpete.com Auction Number 146 •- AUCTION Closing Date: Friday, 29 May, 2015 1001. AINO ACKTÉ: FAUST – Air des bijoux / LOHENGRIN – Einsam in trüben Tagen (in French). 10½” brown Parl. Odeon PO 93 (XPr 1-2/4-2), (w.Ackté’s signature embossed in shellac). M-A, superlative copy. MB 35 “It is difficult to realise that Ackté's sensational début at Covent Garden was as Salome in Richard Strauss' opera. Here she sings…with grace and excellent coloratura technique, and although she was Finnish, the style is typically French, and with immaculate diction. - John Freestone 1002. AGUSTARELLO AFFRE (The French Tamagno): ARMIDE – Plus j’observe ces lieux (Gluck) / MARCELLE DEMOUGEOT, AGUSTARELLO AFFRE, JUSTE NIVETTE: FAUST - Anges purs, anges radieux. 10½” brown & white French Odéon 97011/60895 (XP 4250/4267). A or better, choice copy has few faintest rubs, positively inaud. MB 15 1003. AGUSTARELLO AFFRE (The French Tamagno): SIGURD – Esprits, gardiens (Reyer) / L’ATTAQUE DU MOULIN – Adieux à la forêt (Bruneau). 10½” brown & gold / brown & white French Odéon 36682/36741 (XP 2460/2565). A to M-A, choice copy. MB 15 1004. AGUSTARELLO AFFRE (The French Tamagno): L’AFRICAINE – Pays merveilleux, 2s. 10½” brown & gold French Odéon 36695/72 (XP 2463/75). A to M-A, choice copy has, Sd.2 only, very few superficial pap.scuffs, barely visible & inaud. MB 15 1005. AGUSTARELLO AFFRE (The French Tamagno): GUILLAUME TELL – Asile héréditaire / LOHENGRIN – In fernem Land (in French).
    [Show full text]
  • MORATTI Playlet, for He Alone Is Immortal
    July 25, 1914 MUSICAL A M ER I C A 11 :perform the fu~ctions of Loge's servantl ~n the fire musIc. This takes place duro mg the last week, when there will b. per!orrp.ances every day to celebrate th( laymg of the foundation stone of tht. ECHOES OF MUSIC AlBROAD Playhouse. The. chief events will take place in the hIstorIC grounds, where stand the ruins Munich Names a Street it) Honor of Richard Strauss-First Details of Wagner Royalties Yet Made of the Abbot's Kitchen, or, in the event Public Show That Bayreuth Heirs Received $1,500,000 During First Thirty Years-More German of bad weather, in the Crispin Hall. The productions will generally be in the Hospitality for English Militant Suffragette Composer's Operas-Italian Composers Officially ~and~ of Margaret Morris, who is known m thIS country, and Mr. Boughton but Recognize Possibilities of Cinematograph as New Field for Them-English Critic DIscusses a p'agean~ play dealing with the l~gend of St. BrIde will be produced by Alice Modem Composers in Light of" Supreme Greatness" Test-Vienna Plans Another Week of Music Buckton, the author of "Eager Heart." * * * HAT is "supreme greatness"? asks ONORS continue to be heaped upon Signor Sonzogno, according to a Lon­ others, mere ordinary people, talk some­ W Gerald Cumberland, the English critic, who thereupon proceeds to ex­ H Richard Strauss. The most recent don authority, is of the opinion that times in verse and sometimes in prose." good music properly adapted for the plain in Musical Opinion, that, as it ap­ since the placing of a tablet on his na tal cinematograph can be the means of edu­ * * * pears to him, it is the power to create house in Munich and the founding of a cating people up to the level of classic OVEMBER 1 is the date set for the eI?otional thought that has not only a Richard Strauss Museum in Frankfort­ opera.
    [Show full text]
  • Cottlow Gleason, Soprano, on Novpmber 20 Gave a Refcrs STR
    30 MUSICAL AMERICA November 29, 1913 said to excel particularly-which mayor SAINT=SAENS PLA YS filS FAREWELL may not be taken as a compliment to Verdi. "Les Trois Masques," the clever opera Not Even President Poincare Himself Could Make Composer Chang'e by Isidore de Lara, which was threatened His Mind and Appear Again in Public as Pianist a·nd Organist with oblivion by the sudden demise of the Champs Elysees Opera House, is now be­ -Thuel Burnham's American Tour- Kousnetzoff for Metropolitan ' ing given at the Theatre de Sarah Bern­ hardt, five representations having been ar­ Opera-The Chaigneau Concerts ranged with the same cast, chorus and or­ chestra that interpreted the work in its Bureau of Musical America, the favored few is Mme. Nolkers, of St. original home. C. PHILLIPS VIERKE. 17, Avenue Nlel, Paris, Louis, who possesses a soprano voice of November 14, 1913. great purity and uses it with musicianly "TRISTAN" IN ENGLISH skill. AMILLE SAINT-SAENS announced C his positively final appearance in pub­ Chaigneau "Matinees Musicales" Raymond Roze Trying It ·at Covent lic last week as pianist and organist. At Those energetic and genuinely appre­ Garden-Not Much Interest Aroused ciated musicians, ' the Lhaigneau.s, have re­ this concert, given at the Salle Gaveau, the sumed their "matinees musicales." The pro­ LONDON, Nov. I5 .- The opera-in-English master played a varied Liszt and Mozart grams of these series of concerts, of which enterprise of Raymond Roze at Covent there are two, one in the Autumn and the Garden continues its course, smoothlv and program.
    [Show full text]
  • PERIODICA MUSICA Publication of the Répertoire International De La Presse Musicale Centres Internationaux De Recherche Sur La Presse Musicale
    PERIODICA MUSICA Publication of the Répertoire international de la presse musicale Centres internationaux de recherche sur la presse musicale RIPM CIRPM OB Volume IX 1991 Magazine Music of the Jugendstil Bonny H. Miller and Expressionist Movements (Norfolk) Les Revues musicales et la critique Henri Vanhulst 14 en Wallonie et à Bruxelles au XIXème siècle (Bruxelles) English and American Periodicals Richard Kitson 23 Treated by RIPM: A Report (College Park) é^^==a=!a^^^ ^^J^^^ PERIODICA MUSICA Published jointly by: EDITORS Center for Studies in Nineteenth- H. Robert Cohen, General Editor Century Music, University of Maryland at College Park, U.S.A. Zoltan Roman, Acquisitions Editor Marcello Conati, Corresponding Editor Centre international de recherche Anne Bongrain, Managing Editor sur la presse musicale, Conservatorio di musica "Arrigo Boito," Parma, Comune di Colorno, Italy RIPM operates under the auspices of the International Musicological Society and the International Association of Music Libraries, Archives and Documentation Centres ISSN 0822-7594 ©Copyright 1993, The University of Maryland at College Park Volume IX RIPM Magazine Music of the Jugendstil tury in journals such as Prometheus (Vienna: 1808), and Expressionist Movements Johann Erichson's Wiener Musen — Almanach der Romantik (Vienna: 1814), Friedensblätter (Vienna: Bonny H. Miller 1814-15), and Wiener Zeitschrift für Kunst, Literatur, (Norfolk, Virginia) Theater und Mode (Vienna: 1816-48) .2 A variety of nineteenth-century literary and cultural periodicals Music by composers as diverse as Friedrich continued the practice of issuing music for their readers. Nietzsche, Hugo Wolf, Arnold Schoenberg, and Otto One example, Europa: Chronik der Gebildeten Welt Klemperer is a little-known component of more than a (Leipzig, Stuttgart: 1835-85), included works by such dozen literary and art periodicals published in Germany figures as Giacomo Meyerbeer, Vincenzo Bellini, Gioac­ and Austria between 1890 and 1930.
    [Show full text]
  • 5-2019 Vocal, Ol-Z
    78 rpm VOCAL RECORDS MAGDA OLIVERO [s] 3575. 12” Green Cetra BB 25028 [2-70330-II/2-70331-II]. ADRIANA LECOUVREUR: Io sono l’umile ancella / ADRIANA LECOUVREUR: Poveri fiori gemme (Cilèa). Just about 1-2. $35.00. MARIA OLSZEWSKA [c] 2470. 12” Red acous. Polydor 72778 [753av/882av]. TRAUME / SCHMERZEN (Wagner, from Wesendonck Lieder). Gleaming mint copy. Just about 1-2. $35.00. 2413. 12” Red acous. Polydor 72778 [753av/882av]. Same as preceding listing [#2470]. Few lightest superficial mks., cons. 2. $30.00. AUGUSTA OLTRABELLA [s] 3073. 12” Italian Gram. DB 2828 [2BA1204-II/2BA1205-I] IL DIBUK: Eccoti, bellal amica / IL DIBUK: Ma ora torno mverso l’anima tua (Rocca). With GINO DEL SIGNORE [t]. Orch. dir. Giuseppe Antonicelli. Just about 1-2. $12.00. COLIN O’MORE [t] 1475. 10” Brown Shellec Vocalion 24031 [9503/ ? ]. WERTHER: Pourquoi me réveiller / MANON: Le rêve (both Massenet). Just about 1-2. $8.00. SIGRID ONEGIN [c] 1322. 10” Purple acous. Brunswick 10118 [12157/12013]. VAGGVISA (ar. Raucheisen) / HERDEGOSSEN (Berg). Side one piano acc. Michael Raucheisen. Side two with orch. Just about 1-2. $8.00. 1677. 10” Purple acous. Brunswick 10132 [ ? / ? ]. DER LINDENBAUM (Schubert) / ES IST BESTIMMT IN GOTTES RATH (Mendelssohn). Just about 1-2. $8.00. 3173. 12” Red Schall. Grammophon 72714 (043336/043337) [1462s/1461s]. SAPPHISCHE ODE (Brahms) / DER KREUZZUG (Schubert). Piano acc. In absolutely top condition. Just about 1-2. $25.00. 2643. 12” Red Scroll “Z”-type shellac Victor 7320 [CLR5799- II/CLR5800-I]. SAMSON ET DALILA: Printemps qui commence/ SAMSON ET DALILA: Mon coeur (Saint- Saëns).
    [Show full text]
  • D Dur CD Dur C DAYAY DOOR C (Key of D Major, German Designation)
    D dur C D Dur C DAYAY DOOR C (key of D major, German designation) D moll C d Moll C DAYAY MAWL C (key of d minor, German designation) Da bologna C Jacopo da Bologna C yah-KO-po dah bo-LO-n’yah C (known also as Jacobus de Bononia [yah-KO-bôôss day bo-NAW-neeah]) Da bologna C Marco Antonio da Bologna C MAR-ko ahn-TAW-neeo dah bo-LO-n’yah C (known also as Marco Antonio Cavazzoni [kah-vaht-TSO-nee] and Marco Antonio d’Urbino [door-BEE-no]) Da capua C Rinaldo dah Capua C ree-NAHL-doh dah KAH-pooah C (known also as Rinaldo di [dee] Capua) Da cascia C Giovanni da Cascia C jo-VAHN-nee dah KAH-shah C (known also as Giovanni de Florentia [jo-VAHN-nee day flo-RAYN-teeah]) Da caserta C Anthonello da Caserta C ahn-toh-NAYL-lo dah kah-ZAYR-tah Da draussen im duftenden garten C Da draussen im duftenden Garten C dah DRAHOOSS-sunn imm DÔÔF-tunn-tunn GAR-tunn C (excerpt from the operetta Ein Walzertraum [§n VAHL- tsur-trahôôm]; music by Oscar Straus [AWSS-kar SHTRAHÔÔSS]; lyrics by Felix Dörmann [FAY-lickss DÖR-mahn] and Leopold Jacobson [lay-o-PAWLT YAHAH-kawp-zawn] after Hans Müller [HAHNSS MÜL-lur]) Da fonseca de vasconcellos C Joaquim António da Fonseca de Vasconcellos C zhôô-ah-KEE6 ah6-TOH-nihôô duh foh6-SAY-kuh duh vahsh-koh6-SELL-lôôsh C (known also as Joaquim de Fasconcellos) Da fonseca portugal C Marcos Antônio da Fonseca Portugal C MAR-kôôsh ah6-TOH-neeôô duh faw6-SAY-kuh pawr-tôô-GAHL’ C (known also as Marcos Antônio Portugal) Da geht er hin C dah gayt ayr hinn C (aria from Act I of the opera Der Rosenkavalier [dayr RO-zunn-kah-fah-leer] — The
    [Show full text]
  • North American British Music Studies Association University of Nevada, Las Vegas July 31 – August 3, 2014
    North American British Music Studies Association University of Nevada, Las Vegas July 31 – August 3, 2014 Abstracts _____________________________________________ Themed Panel Death, Monsters, and the Succession ... Fears and Anxieties in Elizabethan Song (individual papers appear in the abstracts alphabetically under each author’s last name) Elizabethan England was ripe with fears and anxieties, some imagined and some real. Superstitions, home remedies, and dedicated prayers were rampant. This session consists of three presentations, each focusing on a common early English fear or anxiety, as expressed within specific musical settings. K. Dawn Grapes (Colorado State University): Above the Firmament: Elizabethan Musical Elegies as Commentaries on the Afterlife” William Ross Hagen (Utah Valley University): ‘The great abuse and vice that here in England doth reign’: Succession Anxiety and Monstrous Birth Ballads in Elizabethan England Jeremy L. Smith (University of Colorado at Boulder): Musical Depictions of Mary Queen of Scots as Susanna by William Byrd Collectively, these studies illustrate the important role of composers and their music in capturing, portraying, recording, and advancing cultural beliefs of the late English Renaissance. _____________________________________________ Individual Papers Abstracts appear in alphabetical order by last name of presenter. +++++ Jenna Bailey (University of Lethbridge / University of Sussex) “The Melodic Minors”: An Exploration into the Lives of the Musicians in the Ivy Benson Band Between 1940 and the early 1980s, a formidable woman named Ivy Benson ran the first nationally known, and longest running, all-girl dance band in British history. Throughout her career as a bandleader, Benson organized her eighteen- to twenty-four-piece band like a music school for young women by recruiting, training, mentoring, and managing more than 300 musicians over a period of four decades.
    [Show full text]
  • ARSC Journal, Fall 1989 167 Yale Collection
    THE YALE COLLECTION OF HISTORICAL SOUND RECORDINGS Linda W. Blair The closing years of the nineteenth century saw the advent of a new era for the performing arts. Performance practices in music, drama, public speaking, and litera­ ture, previously lost with the passage of time, now could be preserved for future gen­ erations. Yale University, among the first academic institutions to recognize the value of sound recordings in scholarly research, established the Yale Collection of Historical Sound Recordings (HSR) as a department of the Yale University Libraries in 1961, its purpose to collect, preserve, and make available for study important historical recordings in the fields of Western classical music, jazz, American musical theater, drama, literature, and history. HSR owes its existence to Mr. and Mrs. Laurence C. Witten II (Yale Music, 1951, 1954), who conceived and developed the idea of a sound archive at Yale. The Wittens' interest in styles and practices of nineteenth-century music had led them to form an impressively comprehensive collection of early vocal recordings. When in 1960 they acquired the collection of New York businessman George T. Keating, a collection even larger than their own, and considered the most important worldwide at the time, the idea of founding an archive of historical recordings was born. They reached an agreement with Yale University whereby Yale would house, staff, and administer the collection, and in turn the Wittens would gradually transfer owner­ ship of their discs, cylinders, tapes, photographs, books, letters, and memorabilia to Yale through yearly donations. This collection, deposited at Yale in 1961 and aug­ mented through the years by the Wittens' continuing pursuit of valuable additions, is generally considered the finest collection of early vocal recordings in the world.
    [Show 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.
    [Show full text]
  • A New Vision of Parisian Musical Culture from the Perspective of Gabriel Astruc (1854-1938)
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2014 RE-THINKING PARIS AT THE FIN-DE-SIÈCLE: A NEW VISION OF PARISIAN MUSICAL CULTURE FROM THE PERSPECTIVE OF GABRIEL ASTRUC (1854-1938) Cesar A. Leal University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Leal, Cesar A., "RE-THINKING PARIS AT THE FIN-DE-SIÈCLE: A NEW VISION OF PARISIAN MUSICAL CULTURE FROM THE PERSPECTIVE OF GABRIEL ASTRUC (1854-1938)" (2014). Theses and Dissertations--Music. 30. https://uknowledge.uky.edu/music_etds/30 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]