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" PREFACE N this, the fifth large printing of the Duo-Art Book of Music, the original purpose of the book haS been ADVISORY COUNCIL I maintained and, in addition, many' new classifications a. follow.: have been added, alphabetical arrangement made of com­ CHARLES H. FARNSWORTH posers by chapters and the lists supplemented by new record­ ClIlJ;NfIIJII ings appearing during the last year. Columbia University When the first edition was planned, it was thought GmaGI H. GARTLAN .. New York City that the Book would appeal particularly to those who are OSIIORNI MCCONATHV Glen Ridge, N. ]. using the Duo-Art Reproducing Piano for teaching pur­ GLENN WOODS .. Oakland, Cal. poses throughout the conservatories, colleges, universities, Gw. OSCAR BOWEN ... Tulsa, Okla. normal schools, high schools and grade schools of America JOHN W. BEATTIE and Europe. Northwestern University WILUAM BlEACH, Winstol)-Salem, N. C. However, it was soon realized that the genelal Duo­ PAUL J. WEAVER, Univ. of No. Carolina Art owner in the horne was as much interested in the RALPH L. BALDWIN . Hartford, Conn. classification of this Book as the teacher-for its circulation P. W. DVKIMA . Columbia University EDITH RHITTS. Detroit Symphony Orch. became widespread among all those who possess Duo-Art MAaGARIT LoWRY Pianos. Not only these fortunate folk, but also many Kansas City Orchestra who do not have Duo-Arts, find the book useful as a means LAUIA BIVANT . Ithaca, N. Y. of planning programs for afternoon and evening musicales AONU M. FRYBERGER. Minneapolis, Minn. while teachers in both England and America have by this LoUI. MORLEI .. Columbia University means planned their music courses of study under Dr. Farns­ JAY FAY Louisville, Ky. worth's excellent guidance. AuCI KilT. , Cleveland, Ohio CLAUNCI G. HAMILTON Possessing a Duo-Art-a planned Library of Recordings Wellesley, Mass. and the Book of Music-the world of beautiful music be­ FRAJfIU.lJf DU••AM (ex-officio) comes once more the heritage of all youth-those who are young and particularly those who will, in heart and mind and spirit, forever be young. FRANKLIN DUNHAM. Educational Director, , The Aeolian Company Contents I Music History Page A The Earlier Schools to Modern Music with Liszt & Wagner 8 B Nationalism in Music. IS II A Group of Modernists 23 III American Music 29 FOREWORD IV Music Structure and Form A Contrapuntal Forms 34 B Folk Song and Folk Dance 34 C Dance Music: HAT is there more delightful to a traveller, in a Dance Music of Former Day.s 35 country he does not know, than to have a friend to Idealized Dance Music 35 W act as his guide, telling him where to find the run­ The Suite and Suite Movements :..... 40 ning brooks, where the lakes are, where he can reach the moun­ D Lyric Pieces 41 tain tops and get extensive views, or drop into little valleys E Programmatic and Descriptive Music 47 and get the intimate beauty of their sheltered surroundings. F The Concert Piece...................................... 48 In the arrangement of the musical numbers of the repro­ Marches 48 Etude 48 ducing piano, the attempt is made in the Duo-Art Book: of Concert Pieces 49 Music to act as guide to those who have not a wide and ex­ G The Fantasie, Rhapsodie, Impromptu and Improvisation.50-51 haustive knowledge of its literature. Does the musical travel­ H Paraphrases, Arrangements and Transcriptions.......... 51 ler wish to get illustrations in the history of music? The I The Theme .with Variations 53 numbers are dassifi~d for him from this point of view. Or is J The Rondo 53 he interested in musical forms? A long list of titles presents K Sonata Forms 54 L Sonatas 54 pieces with reference to their structure. If he wishes to enjoy M Suites 55 the quaint rhythms of Folk songs and dances, a well-arranged N Overtures 56 group supplies his need. If he is interested in harmony; and o Concerto, Symphony, Quartet 56-57 wishes to listen to music with this thought in mind, his guide P Opera 57 Q Light Opera 59 is ready to help him, and so with still other aspects of music R Popular Salon Music-Ballads : 60 especially valuable to the teacher. Modem invention is making the actual reproduction of V Significant Masters of Harmony 61 music possible on so large a scale that the general public is VI Physical Education and Dancing having the opportunity to get in touch with extensive col­ A Interpretative Dancing 63 lections of material which was possible only to fortunate B Dance in Education....................... 64 C Folk Dances 65 scholars in former times. Never has the necessity for guidance D Singing Games 65 .been so great, because the numbers of those who need guidance VII Sims' Song Slides 67 have been so greatly increased. Hence, I know of no more valuable aid, not onlf to the general public but also to students VIII Correlation with Visual Education........................ 63 and teachers, than to have publishers who are issuing large IX Selections for Music Memory Contests 69 quantities of material classify this so that the stranger is not X The Melody Way for Piano 71 left wandering in the mazes of a general catalogue, but can XI Music for Grade and High Schools 73 have the intelligent assistance of a guide to direct him where A Music for Primary and Grammar Grades. .. 73 he will find what he wishes. B School Marches .... .. 74 C Choral Series . .. ........ .. 75 D College Songs ....... 75 CHARLES H. FARNSWORTH E Vocal Accompaniments ............ .. 75 PrDfll_ of Malic BtlaclJlimJ (EIlRlTva) F Instrumental Accompaniments ..... .. 78 G Song Medleys .......... .. 80 Teacher's College-Columbia University H Accompaniments to Story, Poem and Recitation. .. .. 81 XII Children's Music (arranged alphabetically). ............. .. 82 XIII Symphonic Recordings 84 XIV Chamber Music Recital:................................. 85 XV Piano Parts for Small Orchestra......................... 86 XVI Piano Parts for V'olin Sonatas and Concertos 87 XVII Alternating Recordings 87 The following Artists record the selections listed in the MUSIC HISTORY Duo-Art Book of Music CLARENCE ADLER HAZEL GERTRUDE KINSCELLA A. The Earlier Schools to Modern l\-1usic with Liszt and Waltner ROlUU<.'!' ARMBRUSTER ALFRED KUGEL WILLIAM BACHAUS FRANK LA FORGE 1'h~ Early Schools of Music (;AROLYN CONE BALDWIN ALEXANDER LAMBERT Bull Frescobaldi Mereaull: Scarlatti, A. ELLEN BALLO:l FREDERIC LAMOND Byrd Lully Purcell Scarlatti, D. MARSHALL BARTHOLOMEW WANDA LANDOW;:,KA Couperin Kuanau Rossi HAROLD BAUER ETHEL LEGINS~ CAROLYN BEEBE l<ALPH LEOPOLD The Age of Bach and Hand~l ANDRE BENOIST HAROLD LEWIS Rameau Bach-Gounod Arne Bach, C. P. E. HENRI Bb:RGMAN THURLOW LIEURANCE Bach, J. S. Handel Bach, W. F. ERNb:STO BERUMEN PAQUITA MADRIGUERA UNA BOURNE LOiS MAER Gluck and the Reform of Opera MOISSAYE BOGUSLAWSKI NICHOLAS MEDTNER 1. The Viennese Period ALEXANDER BOROVSKY CONSTANCE MERING Haydn, Mozart, Beethoven MAGDELEINE BRARD W. OTTO MIESSNER 2. Weber and Romantic Opera ROBERT BRAUN FRANCIS MOORE Weber WINIFRED BYRD KEITH McLEOD 3. Italian Opera in the 18th Century COENRAAD V. BOS HELEN NORFLEET Rossini, Donizetti, Bellini FERRUCCIO BUSONI GUIOMAR NOVAES CHARLES WAKEFIELD CADMAN MARX OBERNDORFER The Romanticists DAVID CAMPBELL PHIL OHMAN Schubert Schumann Henselt Jensen JOHN ALDEN CARPENTER GEOFFREY O'HARA Mendelssohn Chopin Raff MARIA CARRERAS VLADIMIR DE PACHMANN ALFREDO CASELLA IGNACI!< PADEREWSKI ,11odern Music with Liszt and "7agner SHURA CHERKASSKY SELIM PALMGREN Paganini Wagn'er Bruch PIERRE CONNOR ARTHUR PENN Liszt Brahms ALFRED CORTOT DAVID PESETZKY AUGUSTA COTTLOW GENEVIEVE PITOT B. Nationalism in Music EUGEN D'ALBERT JOHN POWELL A lIIerican LEE DAVID SERGE PROKOFIEFF 1. Earlier Types OLIVER DENTON EDITH LOBDELL REED Mason Foster Nevin RUTH DEYO WILLIAM REES Gottschalk MacDowell JOHN DUKE NADIA REISENBERG 2. Later Types MARIE DVORAK JAMES REISTRUP Bartlett Griffes Jonas PHYLLIS FERGUS ROSITA RENARD Carpenter Hadley Mowry ELIZABETH ROSE FOGG RUDOLPH REUTER Dett Huerter Powell CARL FRIEDBERG LEWIS RICHARDS Ganz Hutchinson Sternberg ARTHUR FRIEDHEIM VERA RICHARDSON Waldrop IGNAZ FRIEDMAN EVA FAITH RIDER 3. Song ';Ifriters CLARENCE FUHRMAN CAROL ROBINSON Beach Jacobs-Bond Ware ANIS FULEIHAN ARTHUR RUBINSTEIN Bullard La Forge Woodman OSSIP GABRILOWITSCH BERYL RUBINSTEIN Cadman Speaks RUDOLPH GANZ . DALLMEYER RUSSELL RUTH GARLAND CAMILLE SAINT-SAENS Writers of Light Opera and Semi-Popular Music GEORGE GARTLAN HAROLD SAMUEL Friml HEINRICH GEBHARD ARTHUR SAMUELS Herbert GEORGE GERSHWIN CYRIL SCOTT Koven AURELIO GIORNI ERNEST SCHELLING Lelar WALTER GOLDE E. ROBERT SCHMITZ Sousa KATHARINE GOODSON LILLIAN SELLER EUGENE GOOSSENS ARCHIBALD SESSIONS A merican·Bohemian GITTA GRADOVA ARTHUR SHATTUCK Dvorak PERCY GRAINGER ELEANOR SHAW English-Earlier Types FRANK GREY ARTHUR SHEPHERD Balfe Bamby Sullivan HENRY HADLEY ALEXANDER SILOTI Wallace Elvey ANDREW HAIGH ELEANOR SPENCER FRANCES HALL CHARLES GILBERT SPROSS Later and Contemporary Composers SALLY HAMLIN ALBERT STOESSEL Coleridge-Taylor Grainger FRANK HANCOCK ANNE STRATTON-MILLER Elgar Lehman HAROLD HENRY IGOR STRAVINSKY Forsyth Scott MYRA HESS ROSE AND OTTILIE SUTRO German Stanford HUGH HODGSON FLORENCE TURNER-MALEY French Characteristic Composers DAISY HOFFMAN FREDERICK VANDERPOOL Thomas Franck Delibes Widor Chaminade JOSEF HOFMANN DESIDER VECSEI Gounod Saint-Saens Chabrier. Godard EUSTACE HORODYSKI ZOE WALSON Offenbach Bizet Massenet Pierne EDWIN HUGHES ENOCH WALTON ERNEST HUTCHESON RAYMOND WILSON JOHN IRELAND CAROMA WINN ALBERTO JONAS . VICTOR WITTGENSTEIN DION KENNEDY ALBERT WOLFF 8 THE DUO-ART BOOK OF MUSIC MUSIC HISTORY 9 (1) The Viennese Period (Hsydn, 5703-3 Sonata, Op. 13, Pathetique .. Second Movement; Adagio Mozart and Beethoven) Played by Bauer MUSIC HISTORY HAYDN, JOlef 5711-3 Sonata, Op. 13, Pathetique • AlIegro......Played by Kinscella Third Movement; Rondo, AI- 6835-4 Sonata in D, No. 7 legro Played by Bauer A-The Earlier Schools to Modern BACH, Johann Sebastian Played by Ganz 6101-6 Sonata. Op. 27, No.2 (Moon­ Sonata, G-Major Music with Liszt and Wagner 6330-3 Adagio from F-Minor Con_ • Ii!l'ht).
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    The Fifteenth-Anniversary Season: The Glorious Violin July 14–August 5, 2017 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, itness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE 4290 Bistro features creative dishes from our Executive Chef and Culinary Team. Our food is a fusion of Asian Flavors using French techniques while sourcing local ingredients. TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo The Glorious Violin the fifteenth-anniversary season July 14–August 5, 2017 DAVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 The Glorious Violin Program Overview 6 Essay: “Violinists: Old Time vs. Modern” by Henry Roth 10 Encounters I–V 13 Concert Programs I–VII Léon-Ernest Drivier (1878–1951). La joie de vivre, 1937. Trocadero, Paris, France. Photo credit: Archive 41 Carte Blanche Concerts I–V Timothy McCarthy/Art Resource, NY 60 Chamber Music Institute 62 Prelude Performances 69 Koret Young Performers Concerts 72 Master Classes 73 Café Conversations 74 The Visual Arts at Music@Menlo 75 Music@Menlo LIVE 76 2017–2018 Winter Series 78 Artist and Faculty Biographies 90 Internship Program 92 Glossary 96 Join Music@Menlo 98 Acknowledgments 103 Ticket and Performance Information 105 Map and Directions 106 Calendar www.musicatmenlo.org 1 2017 Season Dedication Music@Menlo’s ifteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible.
  • 111036-37 Bk Fledermaus

    111036-37 Bk Fledermaus

    112054 bk Legends EU 4/5/10 08:33 Page 5 Princess Marcelina Czartoryska. Here, Janotha plays For Liszt and pedagogues like Theodor Leschetizky and pupil, Friedheim became Liszt’s teaching assistant, Friedheim, born in St Petersburg. Twice offered the ADD from Chopin’s own manuscript of a Bach-inspired Anton Rubinstein, the piano was a one-piece orchestra, personal secretary, and confidant. He was probably the directorship of the New York Philharmonic, honoured at Legends of the Piano youthful work (with Chopin’s handwritten notations) the synthesizer of its time, to be “conducted” for a full closest student of all to Liszt, both in piano technique the Taft White House and the courts of Europe, 8.112054 given her by the princess. Even in an age of range of colour and effect through rubato, individual (the sweeping “grand manner”) and general Friedheim was banned from the concert stage and eccentricity, Mme Janotha stood apart: as Mark accentuations, and pedal artistry. In the twentieth temperament (intensely philosophical, with spiritual reduced overnight to playing for the silent movies and Hambourg observed, her concerts were always adorned century, these two approaches survived in the mellow overtones), even sharing a physical resemblance. the vaudeville circuit. His combustible reading of by “a magnificent black cat, without which she declared singing line of Artur Rubinstein, protégé of Joseph “Friedheim’s recital,” to one newspaper critic in 1922, Hungarian Rhapsody No. 2, says a 1915 review in that it was impossible for her to play a single note, and Joachim, the great violinist and intimate of Brahms and “was more of a séance”.