August 2016 List
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A Chronology of All Artists' Appearances with the Chamber
75 Years of Chamber Music Excellence: A Chronology of all artists’ appearances with the Chamber Music Society of Louisville st 1 Season, 1938 – 1939 Kathleen Parlow, violin and Gunnar Johansen, piano The Gordon String Quartet The Coolidge Quartet The Heermann Trio nd 2 Season, 1939 – 1940 The Budapest String Quartet The Stradivarius Quartet Marcel Hubert, cello and Harold Dart, piano rd 3 Season, 1940 – 1941 Ralph Kirkpatrick, harpsichord and Lois Wann, oboe Belgian PianoString Quartet The Coolidge Quartet th 4 Season, 1941 – 1942 The Trio of New York The Musical Art Quartet The Pro Arte Quartet th 5 Season, 1942 – 1943 The Budapest String Quartet The Coolidge Quartet The Stradivarius Quartet th 6 Season, 1943 – 1944 The Budapest String Quartet Gunnar Johansen, piano and Antonio Brosa, violin The Musical Art Quartet th 7 Season, 1944 – 1945 The Budapest String Quartet The Pro Arte Quartet Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord th 8 Season, 1945 – 1946 The Musical Art Quartet Nikolai Graudan, cello and Joanna Graudan, piano Philip Manuel, harpsichord and Gavin Williamson, harpsichord The Budpest String Quartet th 9 Season, 1946 – 1947 The Louisville Philharmonic String Quartet with Doris Davis, piano The Albeneri Trio The Budapest String Quartet th 10 Season, 1947 – 1948 Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord The Budapest String Quartet The London String Quartet The Walden String Quartet The Albeneri Trio th 11 Season, 1948 – 1949 The Alma Trio -
The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
In 191^B Played His First Professional Job. He Bought a Sax on August 3/ and Played His First Job on September 3
PAUL BARNES 1 Reel I [of 2]--Digest-Retype June 16, 1969 Also present; Barry Martyn, Lars Edegran/ Richard B. Alien Paul Daniel Barnes, whose professional name is "Polo" Barnes/ was born November 22, 1903., in New Orleans/ Louisiana. When he was six years old, he started playing a ten cent [tin] fife. This kind of fife was popular in New Orleans. George Lewis, [Emil-e] Barnes and Sidney ^. Bechet and many others also started on the fife. In 191^B played his first professional job. He bought a sax on August 3/ and played his first job on September 3. He had a foundation from playing the fife. As a kid, he played Emile Barnes' clarinet. There were few Boehm system clarinetists then. 'PB now plays a Boehm. Around 1920 PB started playing a Boehm system clarinet, but he couldn't get the hang of it/ so he went back to the sax/ which he played until he got with big bands. He took solos on the soprano sax [and later alto sax], but not on the clarinet. He is largely self-taught. He tooT< three or four saxophone lessons from Lorenzo Tie [Jr.]. Tio was always high. PB learned clarinet from Emile Barnes. PB wanted to play like Sidney Bechet, but he couldn't get the tone. PB played tenor sax around New York/ baritone sa^( [and still occasionally alto]. [Today PB is still playing clarinet almost exclusively--RBA, June 7, 1971<] His first organized band was PB's and Lawrence Marrero's Original Diamond Orchestra. It had Bush Hall, tp/ replaced by Red Alien; Cie Frazier [d]; Lawrence [Marrero] / [bj?]. -
UNIVERSITY of CALIFORNIA Los Angeles
UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism. The end of the Cold War has brought renewed interest in trying to understand such an enigmatic period in Russian culture. While much scholarship has been ii devoted to Symbolist poetry, there has been surprisingly very little work devoted to understanding how the soundscape of music works within the sphere of Symbolism. -
Roberto Devereux
GAETANO DONIZETTI roberto devereux conductor Opera in three acts Maurizio Benini Libretto by Salvadore Cammarano, production Sir David McVicar after François Ancelot’s tragedy Elisabeth d’Angleterre set designer Sir David McVicar Saturday, April 16, 2016 costume designer 1:00–3:50 PM Moritz Junge lighting designer New Production Paule Constable choreographer Leah Hausman The production of Roberto Devereux was made possible by a generous gift from The Sybil B. Harrington Endowment Fund The presentation of Donizetti’s three Tudor queen operas this season is made possible through a generous grant from Daisy Soros, general manager in memory of Paul Soros and Beverly Sills Peter Gelb music director James Levine Co-production of the Metropolitan Opera principal conductor Fabio Luisi and Théâtre des Champs-Élysées 2015–16 SEASON The seventh Metropolitan Opera performance of GAETANO DONIZETTI’S This performance roberto is being broadcast live over The Toll Brothers– devereux Metropolitan Opera International Radio Network, sponsored by Toll Brothers, conductor America’s luxury Maurizio Benini homebuilder®, with generous long-term in order of vocal appearance support from sar ah (sar a), duchess of not tingham The Annenberg Elīna Garanča Foundation, The Neubauer Family queen eliz abeth (elisabet ta) Foundation, the Sondra Radvanovsky* Vincent A. Stabile Endowment for lord cecil Broadcast Media, Brian Downen and contributions from listeners a page worldwide. Yohan Yi There is no sir walter (gualtiero) r aleigh Toll Brothers– Christopher Job Metropolitan Opera Quiz in List Hall robert (roberto) devereux, e arl of esse x today. Matthew Polenzani This performance is duke of not tingham also being broadcast Mariusz Kwiecien* live on Metropolitan Opera Radio on a servant of not tingham SiriusXM channel 74. -
Volume 70, Number 11 (November 1952) Guy Mccoy
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1952 Volume 70, Number 11 (November 1952) Guy McCoy Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation McCoy, Guy. "Volume 70, Number 11 (November 1952)." , (1952). https://digitalcommons.gardner-webb.edu/etude/123 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. IN THE FINEST HOMES ••. ON THE LeTTeRS CONCERT STAGE ~~ T o T B E E D I T o R ITS liL1ristmasShopping &Juide . ~ ; ¢=.<- ~ am going to try and start one of INSTRUMENTS IN MINIATURE Articles these libraries for my few pupils as Piano, Violin, Cornet, Cello, Banjo, Trom- LYREAND WREATH PIN bone, Guitar, Drum, Saxophone. Sir: I would like to express a the benefit her students receive well deserved compliment to the from this library must be too nu- J-70 reads Music J_22A Gold Plated (Pin Back Only). .60 tJ-228 Sterling Pin or Chorm ETUDE Magazine. I think the Au- merous to mention. .75 J-71 reads Choir (Specify which instrument) gust issue is one of the best ever Roger Warren Roszell J-72 Plain Bar or Engraving *BRACElET WITH NINE CHA.RMS published. -
Charlie Christian
Prof. Jeff Campbell Trevor de Clercq 03/05/07 CHARLIE CHRISTIAN CHRONOLOGICAL BIOGRAPHY (based on Broadbent 2003) July 29, 1916: Charlie Christian (hereafter CC) born in Bonham, TX Father is a compressor operator in cotton mill; Mother is a hotel maid c.1918 (age 2): Father loses eyesight; Family moves to Oklahoma City, OK; Father works as a busker on the streets of the city as a guitar player 1926 (age 10): Father dies; CC inherits his father's two guitars 1928 (age 12): CC begins high school; Takes classes with Zelia N. Breaux Oil discovered in Oklahoma City 1930's (teenager): Oklahoma City is a major stopover for bands traveling east and west Deep Deuce area of Oklahoma City becomes a popular jazz neighborhood Older brother Edward becomes an established band leader Western Swing bands feature electric guitar with single-note solos 1932 (age 16): CC meets and jams with Lester Young 1933 (age 17): T-Bone Walker returns to Oklahoma City and jams with CC CC takes bass lessons with Chuck Hamilton 1934 (age 18): CC amplifies his acoustic guitar during gigs with brother Edward 1935 (age 19): CC jams with Cootie Williams as Duke Ellington comes through town CC has a regular gig with Leslie Sheffield and the Rhythmaires 1936 (age 20): CC begins touring the Plains States with various ensembles 1937 (age 21): CC acquires his first electric guitar and amp (Gibson ES150) 1938 (age 22): First recordings of jazz on an electric guitar are made Charlie Parker sees CC play in Kansas City 1939 (age 23): CC returns to Oklahoma City and fronts his own small group Benny Goodman begins recording with various electric guitarists Benny Goodman offers guitar-player Floyd Smith a contract, which is turned down by Smith's manager John Hammond, Goodman's manager, offers CC the job Aug. -
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, -
Download the Concert Programme (PDF)
London Symphony Orchestra Living Music Wednesday 15 February 2017 7.30pm Barbican Hall UK PREMIERE: MARK-ANTHONY TURNAGE London’s Symphony Orchestra Mark-Anthony Turnage Håkan (UK premiere, LSO co-commission) INTERVAL Rachmaninov Symphony No 2 John Wilson conductor Håkan Hardenberger trumpet Concert finishes approx 9.30pm Supported by LSO Patrons 2 Welcome 15 February 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican, THE LSO ON TOUR which features the UK premiere of one of two works by Mark-Anthony Turnage co-commissioned by the This month, the LSO will embark on a landmark LSO this season. Håkan is Mark-Anthony Turnage’s tour of the Far East. On 20 February the Orchestra second work for trumpeter Håkan Hardenberger; will open the UK-Korea Year of Culture in Seoul, regular members of the audience will remember the followed by performances in Beijing, Shanghai and LSO’s performance of the first concerto, From the Macau. To conclude the tour, on 4 March the LSO will Wreckage, in 2013. It is a great pleasure to welcome make history by becoming the first British orchestra this collaboration of composer and soloist once again. to perform in Vietnam, conducted by Elim Chan, winner of the 2014 Donatella Flick LSO Conducting The LSO is very pleased to welcome conductor Competition. A trip of this scale is possible thanks to John Wilson for this evening’s performance, and the support of our tour partners. The LSO is grateful is grateful to him for stepping in to conduct at to Principal Partner Reignwood, China Taiping, short notice. -
Benny Goodman : from “King of Swing” to Third Stream Jae Ellis Bull
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 1-1-2006 Benny Goodman : From “King of Swing” to Third Stream Jae Ellis Bull Follow this and additional works at: http://mds.marshall.edu/etd Part of the Music Commons Recommended Citation Bull, Jae Ellis, "Benny Goodman : From “King of Swing” to Third Stream" (2006). Theses, Dissertations and Capstones. Paper 517. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Benny Goodman: From “King of Swing” to Third Stream. Thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music. by Jae Ellis Bull Dr. Vicki Stroeher, Committee Chairperson Dr. Marshall Onofrio, Dr. Donald Williams Marshall University August 2006 ABSTRACT Benny Goodman: From “King of Swing” to Third Stream. By Jae Ellis Bull Clarinetist and band leader Benny Goodman was born in the Chicago slums in 1909. He first played in dance bands and eventually organized his own band, which became so popular that he was known as the "King of Swing." As a clarinetist, he also was attracted to classical music, particularly the clarinet music of Mozart, Debussy and Brahms. Gunther Schuller, describing Goodman's ability to play in both jazz and classical styles said, "In a sense, Benny was the first Third Stream musician, moving easily in and out of jazz and classical music, from the Palomar Ballroom to Carnegie Hall..."1 This paper explores Goodman's musical career in both the classical and jazz worlds, defines the term “Third Stream” and describes how Benny Goodman fits this term. -
Modes of Knowing: Resources from the Baroque John Law 17
MATTERING PRESS Mattering Press is an academic-led Open Access publisher that operates on a not-for-profit basis as a UK registered charity. It is committed to developing new publishing models that can widen the constituency of academic knowledge and provide authors with significant levels of support and feedback. All books are available to download for free or to purchase as hard copies. More at matteringpress.org. The Press’s work has been supported by: Centre for Invention and Social Process (Goldsmiths, University of London), Centre for Mobilities Research (Lancaster University), European Association for the Study of Science and Technology, Hybrid Publishing Lab, infostreams, Institute for Social Futures (Lancaster University), Open Humanities Press, and Tetragon. Making this book Mattering Press is keen to render more visible the unseen processes that go into the produc- tion of books. We would like to thank Endre Dányi, who acted as the Press’s coordinating editor for this book, the reviewers Anna Tsing and Margaret Wiener, Jenn Tomomitsu for the copy-editing, Tetragon for the production and typesetting, Sarah Terry for the proof- reading, and Ed Akerboom at infostreams for formatting the html versions of this book. Cover In 1693, the French Académie des Sciences introduced a new, supposedly more rational system for categorising letterforms and constructing them according to an underlying grid. This was employed in the design of Romain du Roi, a new typeface for Louis XIV’s royal printer. The grid-engraved plates, on which the ‘B’ on the cover is based, were produced to demonstrate the typeface’s geometrical construction at a time when letterforms were generally derived from stylised handwriting. -
Gounod Faust Mp3, Flac, Wma
Gounod Faust mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Faust Country: France Released: 1973 Style: Opera, Neo-Classical MP3 version RAR size: 1647 mb FLAC version RAR size: 1494 mb WMA version RAR size: 1805 mb Rating: 4.7 Votes: 296 Other Formats: MP4 AUD MP1 MPC AC3 XM TTA Tracklist A1 Introduction A2 Acte I B Acte II C Acte III - Première Partie D Acte III - Fin E Acte IV - Première Partie F1 Acte IV - Fin F2 Acte V - Première Partie G Acte V - Suite H Acte V - Fin Credits Baritone Vocals – Ernest Blanc, Victor Autran Bass Vocals – Boris Christoff Conductor – André Cluytens Mezzo-soprano Vocals – Rita Gorr Orchestra – Orchestre Du Théâtre National De L'Opéra-Comique Soprano Vocals – Liliane Berton, Victoria De Los Angeles Tenor Vocals – Nicolai Gedda Other versions Category Artist Title (Format) Label Category Country Year Gounod* - Gounod* - Victoria Victoria De Los De Los Angeles, Angeles, Nicolai Nicolai Gedda, His Master's ASD 307-10 ASD 307-10 UK 1959 Gedda, Boris Boris Christoff, Voice Christoff, André André Cluytens - Cluytens Faust (4xLP + Box) Gounod*, Victoria Gounod*, Victoria De Los Angeles, De Los Angeles, Nicolai Gedda, Nicolai Gedda, Boris Christoff, SLPXL Boris Christoff, SLPXL Paris Opera Hungaroton Hungary 1972 31363-65 Paris Opera 31363-65 Orchestra and Orchestra and Chorus*, André Chorus*, André Cluytens - Faust Cluytens (3xLP, Box) Gounod*, Victoria Gounod*, Victoria De Los Angeles, De Los Angeles, Nicolai Gedda, Nicolai Gedda, Boris Christoff, Boris Christoff, 5 67967 2 Orchestre National EMI Classics 5 67967 2 Europe 2003 Orchestre De L'Opéra De National De Paris, André L'Opéra De Paris, Cluytens - Faust André Cluytens (3xCD, Album, RM) Ш.