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Souvenir Winter 2010 2011
The Maud Powell Society for Music and Education SOUVENIR WINTER 2010-2011 Celebrating an American Tradition he past and the present met in perfect harmony when T Rachel Barton Pine and Karen Shaffer celebrated the legacy of Maud Powell in music, words and images in their program “An American Tradition”. More than 60 people attended the event held at the home of Adelaide Kersh in Brevard, North Carolina on September 20, 2010. The evening opened with “Maud Powell, An American Legend” a PowerPoint presentation developed and nar- rated by Karen with live performances by Rachel accom- panied by pianist Ruth Sieber Johnson, Executive Direc- Ruth Sieber Johnson, Karen Shaffer, tor of Sigma Alpha Iota International Music Fraternity. Rachel Barton Pine “We were really celebrating two great American vio- linists: Maud Powell, a pioneer in music who brought her art to audiences throughout the world as well as great in- tegrity to her art, and Rachel who continues that tradition today as a performer and educator,” Karen explained. Karen recounted Powell’s life from her birth in Illinois to her death in a hotel room in Uniontown, Pennsylvania MP Society Exhibit at the event. on a frigid January night in 1920, just two months after In addition to using Maud’s recordings to illustrate, she had suffered a heart attack that was mistaken for Rachel performed the Romance by Amy Beach, written “indigestion.” for Powell and premiered by Beach and Powell at the 1893 Columbian World’s Exposition in Chicago; Samuel Coleridge Taylor’s Deep River transcribed by Powell; Caprice on Dixie for solo violin in a combined arrange- ment by Rachel and Powell, and Nobody Knows the Trou- ble I See, the last piece of music performed by Powell two months before her death. -
An-American-Woman-Forgotten
An American Woman Forgotten by Donald George and Lucy Mauro May 29 marks the 40th anniversary of the death of Margaret Ruthven Lang. If you have never heard of Margaret Ruthven Lang, you are not alone. This forgotten American woman, born in Boston in 1867 and who lived until 1972, spent the first 50 years of her life surrounded by prominent musicians , poets and painters of the day and indeed becoming one of the most highly regarded female composers of her time, the first American woman to have a major orchestra perform her compositions in 1893, and to publish some 150 works, performed by great artists throughout the US and Europe, only to spend the next 50 years of her life in anonymity, never to compose again or hardly even to mention it. The story of this fascinating woman begins with her musical family. Lang was the eldest daughter of Benjamin Johnson, “B.J.” Lang, a great musician himself – a Boston musical Brahmin, starting such venerable choral organizations as the Apollo Club and the Cecilia Society (known today as the Boston Cecilia) and a prominent conductor, organist, pianist and composer. He conducted the premier of the famous Tchaikovsky piano concerto (the one everybody knows was actually premiered in America) with Hans von Bülow performing and would later perform the piano part himself. Margaret’s mother was Frances Burrage Lang, an amateur singer. The Langs knew many of the great musicians of the day, Dvořák, Gottshalk, Paderewski. MacDowell, Liszt and Richard Wagner (Margaret and the Wagner children were playmates), to name a few. -
MPI 0011 New York Times March 26, 1898
MPI 0011 New York Times March 26, 1898 FIDDLE AND THE FIDDLER A Story of Maud Powell’s Transition from the Baby Instrument Up to the “Strad” Period. NOT A PRODIGY, JOACHIM SAID But She Had Talent, Which Was Better, and Worked Hard – Difficulty of American Players and Audiences in Overcoming Puritanism. This is a story of Miss Maud Powell and her “fiddle.” The word fiddle is in quotation marks because it is Miss Powell’s word. It does not behoove a stranger who is not on intimate terms with the instrument of instruments to say anything less dignified than violin. “But I should feel that it was almost an insult to call my dear old fiddle of violin,” Miss Powell says. To say ‘fiddle’ is like using the familiar pronoun of the Germans, ‘du,’ ‘thou .’” And the strangers do not say “du” upon first acquaintance, and Miss Powell’s violin is an instrument which should be treated with great respect, not only on general principles, but because of its age and good qualities. It is an Amati, Andreas Amati, and is 300 years old. Miss Powell has been using it for the past eight years. It is an instrument belonging to the collection of E. J. Delehanty, who loaned it to Miss. Powell. It is a “healthy instrument, has good whole word in it, and stands the changes of this climate.” That is a professional criticism and means a great deal. Professional violinists may almost be seen to grow by their violins. Miss Powell, for instance, has about reached the “Strad” period. -
Maud Powell As an Advocate for Violinists, Women, and American Music Catherine C
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 "The Solution Lies with the American Women": Maud Powell as an Advocate for Violinists, Women, and American Music Catherine C. Williams Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “THE SOLUTION LIES WITH THE AMERICAN WOMEN”: MAUD POWELL AS AN ADVOCATE FOR VIOLINISTS, WOMEN, AND AMERICAN MUSIC By CATHERINE C. WILLIAMS A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Summer Semester, 2012 Catherine C. Williams defended this thesis on May 9th, 2012. The members of the supervisory committee were: Denise Von Glahn Professor Directing Thesis Michael Broyles Committee Member Douglass Seaton Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For Maud iii ACKNOWLEDGMENTS I would like to thank my parents and my brother, Mary Ann, Geoff, and Grant, for their unceasing support and endless love. My entire family deserves recognition, for giving encouragement, assistance, and comic relief when I needed it most. I am in great debt to Tristan, who provided comfort, strength, physics references, and a bottomless coffee mug. I would be remiss to exclude my colleagues in the musicology program here at The Florida State University. The environment we have created is incomparable. To Matt DelCiampo, Lindsey Macchiarella, and Heather Paudler: thank you for your reassurance, understanding, and great friendship. -
2011 – Cincinnati, OH
Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. -
New Copy- Made in America
MADE IN AMERICA: THE ORGAN WORKS OF ARTHUR FOOTE BY PATRICK KRONNER Submitted to the faculty of the Jacobs School of Music in partial fulfilment of the requirements for the degree, Doctor of Music Indiana University July, 2017 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. Doctoral Committee _______________________________________ Janette Fishell, Research Director and Chair _______________________________________ Andrew Mead _______________________________________ Frank Samaratto _______________________________________ Christopher Young July 11, 2017 ii Copyright © 2017 Patrick J. Kronner iii In memoriam George Grobbel. iv Acknowledgements Thank you to Claire Caruso, Paul Cienniwa, Susan Clermont, Leo Collins, Sallyjo Belanger, Barbara Benedett, George Bozeman, Janette Fishell, Wayne Leupold, Maria Jane Loizou, Andrew Mead, Barbara Owen, Paul Peeters, Maryalice Perrin-Mohr, Mike and Susan Powell, Frank Samarotto, Jacob Taylor, Christopher Young, my friends and colleagues at the University of Notre Dame and my family. v Table of Contents Acknowledgments………...……………………………………………………………….v Table of Contents…………………………………………………………………….…...vi List of Examples………………………..…...…………………………………………..viii List of Tables……………….………………………………………………………….….x List of Appendices ............................................................................................................. xi Chapter 1: Introduction ...................................................................................................... -
Society for American Music Forty-Second Annual Conference
Society for American Music Forty-Second Annual Conference Hosted by Northeastern University and Babson College Hyatt Regency Cambridge 9–13 March 2016 Boston, Massachusetts Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), the early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. Each member lists current topics or projects that are then indexed, providing a useful means of contact for those with shared interests. -
Pioneer Violin Virtuose in the Early Twentieth Century
Pioneer Violin Virtuose in the Early Twentieth Century Tatjana Goldberg reveals the extent to which gender and socially constructed identity infl uenced female violinists’ ‘separate but unequal’ status in a great male- dominated virtuoso lineage by focussing on the few that stood out: the American Maud Powell (1867–1920), Australian-born Alma Moodie (1898–1943), and the British Marie Hall (1884–1956). Despite breaking down traditional gender- based patriarchal social and cultural norms, becoming celebrated soloists, and greatly contributing towards violin works and the early recording industry (Powell and Hall), they received little historical recognition. Goldberg provides a more complete picture of their artistic achievements and the impact they had on audiences. Tatjana Goldberg started learning the violin in Croatia, and later went to study violin at the Moscow State Tchaikovsky Conservatoire. In 2016 she was awarded her PhD from City, University of London. She teaches the violin at City, University of London, Middlesex University, the Purcell School, and the Youth Music Centre in London. She has a broad experience as a performer and writer. Pioneer Violin Virtuose in the Early Twentieth Century Maud Powell, Marie Hall, and Alma Moodie: A Gendered Re-Evaluation Tatjana Goldberg First published 2019 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2019 Tatjana Goldberg The right of Tatjana Goldberg to be identifi ed as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. -
3. Pablo De Sarasate 76 3.1 a Short Biography 77
City Research Online City, University of London Institutional Repository Citation: Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/7937/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] EARLY RECORDED VIOLINISTS CIHAT AS KIN 1996 EARLY RECORDED VIOLINISTS Cihat Askin Thesis submitted in partial fulfilment of the requirements for the degree of Doctorate of Musical Arts City University Music Department April 1996 2 CONTENTS Acknowledgements 25 Abstract 26 Preface 27 Introduction 29 Abbreviations & Symbols 32 1. Joseph Joachim 33 1.1 A Short Biography 34 1.2 Joachim: Beethoven and Brahms Concertos 35 1.3 Joachim as Performer 39 1.4 Joachim as Teacher 40 1.5 Analysis of Joachim's Recordings 43 1.5.1 Bach Adagio and Tempo di Borea 44 1.5.2 Vibrato 60 1.5.3 Chords 61 1.5.4 Perfect Rubato 62 1.5.5 Agogic Accents 62 1.5.6 Intonation 63 1.6 Conclusion 66 2. -
Gender Bias Among the Big Five Orchestras - As Illustrated in Hiring Practices of Women Instrumentalists
Please do not remove this page Gender Bias Among the Big Five Orchestras - As Illustrated in Hiring Practices of Women Instrumentalists Gutierrez, Sheena https://scholarship.miami.edu/discovery/delivery/01UOML_INST:ResearchRepository/12379289290002976?l#13379289280002976 Gutierrez, S. (2021). Gender Bias Among the Big Five Orchestras - As Illustrated in Hiring Practices of Women Instrumentalists [University of Miami]. https://scholarship.miami.edu/discovery/fulldisplay/alma991031572783502976/01UOML_INST:ResearchR epository Open Downloaded On 2021/09/27 08:36:18 -0400 Please do not remove this page UNIVERSITY OF MIAMI GENDER BIAS AMONG THE BIG FIVE ORCHESTRAS – AS ILLUSTRATED IN HIRING PRACTICES OF WOMEN INSTRUMENTALISTS By Sheena Gutierrez A DOCTORAL ESSAY Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Coral Gables, Florida May 2021 ©2021 Sheena Gutierrez All Rights Reserved UNIVERSITY OF MIAMI A doctoral essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts GENDER BIAS AMONG THE BIG FIVE ORCHESTRAS – AS ILLUSTRATED IN HIRING PRACTICES OF WOMEN STRING PLAYERS Sheena Gutierrez Approved: ________________ ________________ Charles Castleman Jennifer Grim Professor of Instrumental Performance Associate Professor of Instrumental Performance ________________ _________________ Gerard Schwarz Guillermo Prado, Ph.D. Professor of Music, Conducting and Dean of the Graduate School Orchestral Studies ________________ Valerie Coleman Assistant Professor of Performance, Chamber Music and Entrepreneurship GUTIERREZ, SHEENA (D.M.A., Instrumental Performance) (May 2021) Gender Bias Among the Big Five Orchestras – As Illustrated in Hiring Practices of Women Instrumentalists. Abstract of a doctoral essay at the University of Miami. Doctoral essay supervised by Professor Charles Castleman. -
Macdowell Colony Doreen Carwithen Teresa Carreno Ethel Smyth Ruth Gipps Maud Powell Dorothy Gow Society of Women Musicians
The Maud Powell SignatureSignature Women in Music The March of the Women Marion Bauer Amy Beach Jenny Lind The MacDowell Colony Doreen Carwithen Teresa Carreno Ethel Smyth Ruth Gipps Maud Powell Dorothy Gow Society of Women Musicians Premiere Online Issue ~ June 2008 2 The Maud Powell Signature, Women in Music, June 2008 The Maud Powell Signature, Women in Music The March of the Women June 2008, Vol. II, No. 2 Premiere online issue Contents From the desk of . Daryle Gardner-Bonneau, Sigma Alpha Iota …………………………………………... 5 Editorial—The March of the Women ……………………………………………………………………………… 7 Jenny Lind, The Swedish Nightingale by Leslie Holmes ……………………………………………………….. 11 Women with a Cause, The Creation of the MacDowell Colony by Robin Rausch ………………………….. 21 Marion Bauer, From the Wild West to New York Modernism by Susan Pickett ……………………………... 31 Graveyard Stories by Susan Pickett …………………………………………………………………….. 47 The Society of Women Musicians, A Major Step Forward …………………………………………………… 49 in the “March of the Women” by Pamela Blevins Doreen Carwithen, Breaking Down Barriers by Andrew Palmer ………………………………………………. 57 The Children’s Corner ……………………………………………………………………………………………... 69 Amy Beach, “Stealing from the Birds” and other adventures in music by Marie Harris Cameos of More Women in Music ………………………………………………………………………………. 81 Teresa Carreño by Pamela Blevins Maud Powell by Karen Shaffer Dorothy Gow by John France Ethel Smyth by Pamela Blevins The Learning Center ……………………………………………………………………………………………….. 93 Brighter Women Through Music by Madeline Frank -
American Discoveries American Discoveries
Recorded June 3-6, 2008 in the Belbas Theater of the Washington Pavilion of Arts and Sciences, Sioux Falls, South Dakota. Peter Nothnagle, Recording Engineer MERICAN ISCOVERIES Tim Coates, Piano Technician AMERICAN DISCOVERIES Cover photography and artist photos by Aaron Packard Special thanks to Richard Rognstad for his substantial contribution of American music repertoire. Edwin Grasse Daniel Bernard Roumain Henry Cowell Anna Priscilla Risher Mortimer Wilson The Rawlins Piano Trio WWW.ALBANYRECORDS.COM TROY1125 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2009 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. The Composers Company, DJ Spooky and DJ Scientific. He has completed commissions for guitarist Eliot Fisk and the Stuttgart Chamber Orchestra (WE MARCH!) and for the Vermont Youth Orchestra (Voodoo Violin Edwin Grasse (1884 – 1954) was born in New York City. Despite blindness, either from birth or Concerto). In 2008 he premiered Darwin’s Meditation for the People of Lincoln, a musical setting of a infancy—sources differ—he achieved a substantial career as a violinist and composer. In childhood pocket play by Daniel Beaty. Other recent commissions have been received from ESPN, Inari Winds, he had violin and harmony lessons with Carl Hauser and in 1898 went to study with César Thomson Providence String Quartet, Florida Youth Orchestra, and the Ahn and Claremont Piano Trios. He is at the Brussels Conservatory. He then enrolled at the Royal Conservatory, where in 1900 he won a in demand for a number of artist residencies—Seattle Theater Group, Seattle’s More Music @ The first prize in violin performance.