DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 15, 1895-1896

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

" Boston Infantry HH Ha.ll, if Providence HH Orchestra EMIL PAUR, Conductor. First Concert, Wednesday Evening, October 24, At Eight. PROGRAMME. Beethoven ------- Overture, " Egmont Aria. Sgambati _-____-_ Symphony No. 1 I. Allegro vivace, non troppo (D major) - - 3-4 II. Andante mesto (G minor) ----- 6-4 III. Scherzo : Presto (B-flat major) - 3-4 Trio: Un poco meno (G-flat major) - - 3-4 IV. Serenata : Andante (D minor) - 2-4 V. Finale: Allegro con fuoco (D major) - 4-4 Schumann ----- Song, " The Two Grenadiers Rubinstein - - Ballet Music, "Daemon" Soloist, Mr. POL PLANCON THE PIANO IS A STEINWAY. (3) MANUFACTURERS OF GRAND, SQUARE, AND UPRIGHT EUGEN D'ALBERT: From fullest conviction, I declare them to be the best In- struments of America. ........ DR. HANS VON BULOW: Their sound and touch are more sympathetic to my ears and hands than all others of the country. I declare them the absolutely best in America. ....... ALFRED GRUNFELD: I consider them the best instruments of our times. P. TSCHAIKOVSKY: Combines with great volume of tone rare sympathetic and noble tone color and perfect action. WAREROOMS BALTIMORE, WASHINGTON, 22 and 24 E Baltimore Street. 817 Pennsylvania Avenue. NEW YORK, 148 Fifth Avenue. (4) Overture to " Egmont," in F minor, Op. 84. Ludwig van Beethoven. Beethoven wrote the overture, entr'actes, and incidental music to Goethe's tragedy of Egmont in 1809-10; the work was first performed on May 24, 1810. The overture begins with a slow introduction (Sostenuto, ma non troppo, in F minor, 3-2 time). A strong hold on F by the whole orchestra in unison and octaves is followed by the announcement of a stern, tragic motive in the strings, somewhat in the rhythm of a stately saraband ; this is re- sponded to by a pathetic, sighing figure, developed in imitation by the oboe, clarinet, bassoon, first violins, and second violins, the harmony grow- ing fuller with the entrance of each successive voice, until the whole orchestra unites once more in unison and octaves on another fortissimo F. The whole orchestra then repeats the stern saraband motive, to which the wood-wind again respond with imitations on the sighing figure. Then, over tremulous harmonies in the second violins and violas and plain chords in the bassoons, horns, trumpets, and drums, the first violins, doubled by various wooden wind instruments, outline a new figure, while the 'celli and double-basses keep up the stern saraband rhythm in the bass. The main body of the overture {Allegro, in F minor, 3-4 time) begins with a hurried reiteration of the last figure of the introduction by the first violins and 'celli, and then all the strings precipitate themselves upon the first theme, a descending arpeggio-passage in the 'celli, each phrase of which the first violins end off with a sort of sigh ; the second member of this theme soon develops into passage-work, in steadily growing crescendo, which FOR BRAIN-WORKERS, THE WEAK AND DEBILITATED. Horsford's Acid Phosphate Is, without exception, the Best Remedy for relieving Mental and Nervous Exhaustion ; and, where the system has become debilitated by disease, it acts as a general tonic and vitalizer, affording sustenance to both brain and body. Dr. E. Cornell Easten, Philadelphia, Pa., says, " I have met with the greatest and most satisfactory results in dyspepsia and general derangement of the cerebral and nervous systems, causing debility and exhaustion." • Descriptive pamphlet free. Rumford Chemical Works, Providence, R.I. Beware of Substitutes and Imitations. (5) WE ADVERTISE ONLY WHAT WE HAVE, AND EXACTLY AS IT IS rome Kennedy & Co. We invite the attention of Providence Ladies and Gentlemen to the Finest Stock of Clothing, Ready to Wear, we have ever shown. This Clothing is rapidly being adopted by the best dressers in New York and else- where, because it has been proven to be in every respect equal to the finest cus- tom-made; it is from 20 to 50 per cent, lower priced, and it can be fitted without trouble or delay. We keep only the Best Goods to be bought in the markets of the world ; we guarantee every article; we pay money back if re- quested. Jerome Kennedy & Co 170-176 WESTMINSTER STREET, PROVIDENCE. (6 leads up to a fortissimo repetition of the first theme by the full orchestra. The second member is of the nature of passage-work, as before, and ends with a seven times repeated phrase that has something of the character of a first subsidiary. The second theme now enters in A-flat major ; it is but a new version of the saraband theme with which the introduction opened, played, as then, by the strings, and responded to each time by a similar phrase in imitation in the wood-wind, although now in another rhythm. A second subsidiary in B major (wood-wind) leads almost immediately to some more passage-work, ending with a hint at the first subsidiary (in A-flat major), and making way for the entrance of the conclusion-theme in the same key. This theme consists of repetitions by various wooden wind instruments of a figure that recalls both the last figure of the violins in the introduction and the beginning of the first theme ; at every eighth meas- ure the whole orchestra interrupts its even flow with two crashing chords. This first part of the Allegro of the overture is followed by a short tran- sitional passage,— one cannot call it working-out,— which leads directly to the third part. This is almost a note-for-note repetition of the first part, up to where the conclusion-theme entered, save that the second theme now comes in D-flat major. Just where the conclusion-theme might be expected come some developments of the saraband-rhythm in the wind instruments, alternating with the first subsidiary in the strings, and some soft, long-sus- tained harmonies in the wood-wind lead to the coda. The coda {Allegro con brio, in F major, 4-4 time) is what might be called " " a dramatic," in contradistinction to the ordinary symphonic," coda ; it is built up of entirely new thematic material. It begins pianissimo with a short figure in the first violins, repeated over and over again in gradual crescendo over a close tremolo in the strings and a dominant organ-point in New England DonserYato (FOUNDED IN 1853 BY DR. BBBN TOURJEE.) RICHARD H. DANA, President. CARL FAELTEN, Director. The Leading Conservatory of America. Complete in all its departments. You are respectfully invited to visit the institution and examine its methods and facilities. Send or call for Illustrated Prospectus and Calendar. F. W. HALE, General Manager, . Franklin Square, BOSTON, MASS. The department of English and American Literature will be under Mr. Eben Charlton Black, late of Edinburgh University. Public lectures every alternate Tuesday evening, beginning September u. (7) SHORE LINE BETWEEN BOSTON and NEW YORK THROUGH TRAIN SERVICE FROM EITHER CITY. 10.00 a.m. "BAY STATE LIMITED." Parl0P Car3 only. Special Tick- ets required. Buffet Cars through.. Due at 3.00 p.m. 10.03 a.m. "DAY EXPRESS." Buffet Parlor Cars and Day Coaches. Due 4.30 p.m. 1.00 p.m. "AFTERNOON EXPRESS." Buffet Parlor Cars and Day Coaches. Arrives at Y.30 p.m. 3.00 p.m. " SHORE LINE EXPRESS." Parlor Cars, Parlor Smoking Car, and Through Coaches. Dining Car bet. Boston and New London. Due 9 p.m. 5.00 p.m. " GILT EDGE " EXPRESS. Due at II.OO p.m. Daily. Parlor Cars, Parlor Smoking Car, and Through Coaches. Dining Car between Boston and New London. 12.00 O'CLOCK MIDNIGHT EXPRESS. Due at 7.00 a.m. Daily. Com- partment Sleeping Cars and Day Coaches. Open for occupation at 9.15 p.m. PHILADELPHIA, BALTIMORE, and WASHINGTON SERVICE. Via Shore Line, Transfer Steamer "Maryland," and Pennsylvania Route. 9.00 a.m. COLONIAL EXPRESS. excepted.) Returning, leave Washington 7.50 a.ra. (Sundays excepted), Philadelphia 11. 10 a.m. 7QA ,, ~n 1?!? f\ "371? A T T7VOT?T7l QQ Solid Pullman Vestibuled Train. (Daily, Sun- • OU p.m. r J2lUJbifcAij J^A.irifc.Ei»». days included.) Returning, leave Washington 3.15 p.m. daily, Sundays included; Philadelphia 6.30 p.m. daily, Sundays included. NEW YORK, NEW HAVEN and HARTFORD R.R. GEO. L. CONNOR, A. C. KENDALL, Pass'r Traffic Manager. G.P.A. Old Colony System. Finest and Safest Trains ^ in the World, between NEW YORK and WASHINGTON JERSEY CENTRAL, PHILADELPHIA & READING, and VI BALTIMORE & OHIO RAILROADS. All trains vestibuled, heated by steam, lighted by the Pintsch Gas System, and protected by Pullman's Anti-telescoping Device. PULLMAN DAY COACHES, PARLOR CARS, SLEEPING CARS, DINSNG CARS . NEW YORK TO WASHINGTON IN FIVE HOURS Tickets on Sale at all Railroad Offices. Boston Office, 211 Washington Street, (8) the basses, rising in climax up to a new theme, a sort of triumphant trumpet- call, given out and worked up with the utmost energy by the full orchestra. Soon the violas, 'celli, and bassoons come in with a strenuous fugal motive (its strong accents still further strengthened by the horns), against which the violins pit a more brilliant counter-subject; these two figures are briefly worked up together in fugato imitation, until a glowing peroration brings the overture to a triumphant close. Especially noteworthy are the little shrill shrieks of the piccolo-flute, over the fanfare of the horns and trumpets, between the grand, crashing closing chords of the rest of the orchestra at the end. The overture is scored for 2 flutes (the second changing to piccolo in the coda), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 1 pair of ket- tle-drums, and strings.
Recommended publications
  • The John and Anna Gillespie Papers an Inventory of Holdings at the American Music Research Center

    The John and Anna Gillespie Papers an Inventory of Holdings at the American Music Research Center

    The John and Anna Gillespie papers An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder The John and Anna Gillespie papers Descriptive summary ID COU-AMRC-37 Title John and Anna Gillespie papers Date(s) Creator(s) Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 48 linear feet Scope and Contents Papers of John E. "Jack" Gillespie (1921—2003), Professor of music, University of California at Santa Barbara, author, musicologist and organist, including more than five thousand pieces of photocopied sheet music collected by Dr. Gillespie and his wife Anna Gillespie, used for researching their Bibliography of Nineteenth Century American Piano Music. Administrative Information Arrangement Sheet music arranged alphabetically by composer and then by title Access Open Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the American Music Research Center. Preferred Citation [Identification of item], John and Anna Gillespie papers, University of Colorado, Boulder Index Terms Access points related to this collection: Corporate names American Music Research Center - Page 2 - The John and Anna Gillespie papers Detailed Description Bibliography of Nineteenth-Century American Piano Music Music for Solo Piano Box Folder 1 1 Alden-Ambrose 1 2 Anderson-Ayers 1 3 Baerman-Barnes 2 1 Homer N. Bartlett 2 2 Homer N. Bartlett 2 3 W.K. Bassford 2 4 H.H. Amy Beach 3 1 John Beach-Arthur Bergh 3 2 Blind Tom 3 3 Arthur Bird-Henry R.
  • June 1902) Winton J

    June 1902) Winton J

    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1902 Volume 20, Number 06 (June 1902) Winton J. Baltzell 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 Baltzell, Winton J.. "Volume 20, Number 06 (June 1902)." , (1902). https://digitalcommons.gardner-webb.edu/etude/471 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]. THE PUBLISHER OF THE ETVDE WILL SUPPLY ANYTHING IN MUSIC. 11^ VPl\W4-»* _ The Sw»d Volume ol ••The Cmet In Mmk" mil be rmdy to «'»!' >* Apnl "* WORK m VOLUME .. 5KI55 nETUDE I, Clic.pl". Oodard. and Sohytte. II. Chamlnade. J^ ^ Sthumann and Mosz- Q. Smith. A. M. Foerater. and Oeo. W. W|enin«ki. VI. kowski (Schumann occupies 75 pages). • Kelley» Wm. Berger, and Deahm. and Fd. Sehnett. VII. It. W. O. B. Klein. VIII, Saint-Saens, Paderewski, Q Y Bn|ch Max yogrich. IX. (llazounov, Balakirev, the Waltz Strau ’ M g Forces in the X. Review ol the Coum a. a Wholes The Place ol Bach nr Development; Influence ol the Folks Song, etc.
  • A Special Catalogue of the Musical Material in the University of Illinois Library

    A Special Catalogue of the Musical Material in the University of Illinois Library

    A Special Catalogue of tfec !v , ;\h icn^ h the University of Illinois Ubrarj mic 1 !: K/V ut>ji\'.<ji«- J J JU .NO EE J.,.UMI AJtV THE UNIVERSITY OF ILLINOIS LIBRARY A SPECIAL CATALOGUE OF THE MUSICAL MATERIAL IN THE UNIVERSITY OF ILLINOIS LIBRARY BY DELLA GRACE CORDELL THESIS FOR THE DEGREE OF BACHELOR OF MUSIC IN MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1918 Itns UNIVERSITY OF ILLINOIS June 13 19^8 THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Delia Grace Qqx.gL.61L. entitled A Special Catalogue of the Musical .Material in the University of Illinois Library. IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE of Bachelor of Music HEAD OF DEPARTMENT OF Director, School of Music i. Table of Contents. Theoretical music. Introduction. I. History 1. II. General theory 13. III. Theory of music education, and instruction 26. IV. Philosophy and esthetics 42. V. Criticism and essays 43. VI. Periodicals 45. Practical music. I. Voice 47. II. Sacred 72. III. Piano ?6. IV. Violin S3. V. Organ 88. VI. Ensemble 108. VII. Orchestral 127. Index 140. Digitized by the Internet Archive in 2013 http://archive.org/details/specialcatalogueOOuniv S Introduction. In making this special catalogue of the music material in the University of Illinois Library, the object in view was a classifi- cation of the music and musical books from the standpoint of the music student in order that the material be made more accessible to those wishing to use it. The mu3ic material is arranged on the shelves according to the library Dewey Decimal classification system by means of which all books are classified under ten main divisions.
  • This Album Presents American Piano Music from the Later Part of the Nineteenth Century to the Beginning of the Twentieth

    This Album Presents American Piano Music from the Later Part of the Nineteenth Century to the Beginning of the Twentieth

    EDWARD MacDOWELL and Company New World Records 80206 This album presents American piano music from the later part of the nineteenth century to the beginning of the twentieth. Chronologically it ranges from John Knowles Paine’s Fuga Giocosa, published in 1884, to Henry F. Gilbert’s Mazurka, published in 1902. The majority are from the nineties, a time of great prosperity and self-satisfaction in a nation of philanthropists and “philanthropied,” as a writer characterized it in The New York Times. Though the styles are quite different, there are similarities among the composers themselves. All were pianists or organists or both, all went to Europe for musical training, and all dabbled in the classical forms. If their compatriots earlier in the nineteenth century wrote quantities of ballads, waltzes, galops, marches, polkas, and variations on popular songs (New World Records 80257-2, The Wind Demon), the present group was more likely to write songs (self-consciously referred to as “art songs”) and pieces with abstract titles like prelude, fugue, sonata, trio, quartet, and concerto. There are exceptions. MacDowell’s formal works include two piano concertos, four piano sonatas, and orchestra and piano suites, but he is perhaps best known for his shorter character pieces and nature sketches for piano, such as Fireside Tales and New England Idyls (both completed in 1902). Ethelbert Nevin was essentially a composer of songs and shorter piano pieces, most of them souvenirs of his travels, but he, too, worked in the forms that had become most prestigious in his generation. The central reason for the shift away from dance-inspired and entertainment pieces to formal compositions was that American wealth created a culture that created a musical establishment.
  • Enter Old Association-Meet Necessitates Game Being Coaches to Can Athletic Club

    Enter Old Association-Meet Necessitates Game Being Coaches to Can Athletic Club

    Cornell Umlg Sim Vol. XXVI. No. 89 ITHACA, N. V., TUESDAY, JANUARY 30, i906. Price Three Cents METCALF, '01 TOASTMASTER. TRACK MEET SATURDAY. FENCING LEAGUE REUNITED. TO PLAY YALE IN AUBURN. Chosen to Preside atJunior Smok- Relay Team and Men in Special Cornell,Columbia and Harvard Re- Changed Date of Ice Carnival er Nat Month-Captains and EventsinMeet ofIrish-Ameri- Speak. Enter Old Association-Meet Necessitates Game Being Coaches to can Athletic Club. Metcalf,. jr., 'oi, has been InIthaca This Year. Played Out of Town. Next Saturday, February & Cornell ' toastmaster for the The recent division in the Intercol- Owing to the change in the date of chosen as Junior sends a track team to New York to 1 Smoker, which will take place on Fri- legiate Fencers' Association has been the Ice Carnival the basketball manage- compete in the meet held by the Irish- '♥lay,February 9. Mr. Metcalf was ended, with there-entry of Cornell,Har- ment has decided that there will be no American Athletic club. The meet will in many activities while in vard and Columbia into the old associa- basketball game here with Yale on next "prominent be held at Madison Spuaire Garden. University. He entered the law tion. These three colleges recently Saturday evening as arranged. The the Cornell will enter the one mile inter- in 1808. In his year he withdrew from the association and Yale game was originally scheduled to school Junior collegiate relay race, as well as appointed chairman of the men formed anew organization known as the take place here Friday night of this £ was Junior in the 600 yard novice run andi in the Banquet committee, and the next University Fencers' League.
  • ITALIAN, PORTUGUESE, SPANISH and LATIN AMERICAN SYMPHONIES from the 19Th Century to the Present

    ITALIAN, PORTUGUESE, SPANISH and LATIN AMERICAN SYMPHONIES from the 19Th Century to the Present

    ITALIAN, PORTUGUESE, SPANISH AND LATIN AMERICAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman FRANCO ALFANO (1876-1960, ITALY) Born in Posillipo, Naples. After studying the piano privately with Alessandro Longo, and harmony and composition with Camillo de Nardis and Paolo Serrao at the Conservatorio di San Pietro a Majella, Naples, he attended the Leipzig Conservatory where he completed his composition studies with Salomon Jadassohn. He worked all over Europe as a touring pianist before returning to Italy where he eventually settled in San Remo. He held several academic positions: first as a teacher of composition and then director at the Liceo Musicale, Bologna, then as director of the Liceo Musicale (later Conservatory) of Turin and professor of operatic studies at the Conservatorio di San Cecilia, Rome. As a composer, he speacialized in opera but also produced ballets, orchestral, chamber, instrumental and vocal works. He is best known for having completed Puccini’s "Turandot." Symphony No. 1 in E major "Classica" (1908-10) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 2) CPO 777080 (2005) Symphony No. 2 in C major (1931-2) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 1) CPO 777080 (2005) ANTONIÓ VICTORINO D'ALMEIDA (b.1940, PORTUGAL) Born in Lisbon.. He was a student of Campos Coelho and graduated from the Superior Piano Course of the National Conservatory of Lisbon. He then studied composition with Karl Schiske at the Vienna Academy of Music. He had a successful international career as a concert pianist and has composed prolifically in various genres including: instrumental piano solos, chamber music, symphonic pieces and choral-symphonic music, songs, opera, cinematic and theater scores.
  • Houlton Times, February 18, 1920

    Houlton Times, February 18, 1920

    m AROOSTOOK TIMES S H U TOWN OF April 13, I860 AROOSTOOK COUNT * * '■ * Cary December 27, 1916 .1 HOULTON TIMES VOL. LX HOULTON, MAINE, WEDNESDAY, FEBRUARY 18, 1920 No. 7 DISASTROUS FIRE MOONLITE DANCE SHALL GATHERINGS VMJRNAMENT FOR OCCURS AT WOODSTOCK ANNUAL BALL AND PRIZE WALTZ FARMERS MEET TO BE PROHIBITED? One of the most disastrous fires that One of the largest crowds that has During an epidemic of any kind the ever yet attended the weekly Moonlite 'THE “NOOSE” CUP has visited Woodstock, N. B. in many OF HOULTON • PLANFOR1920 question is asked, Shall school sea* dance in the Heywood theatre was sions, churches, moving pictures, etc. ------------- years did more than $100,000 damage that of Friday night when more than be prohibited, and all of these places E&ch W f r k — earIy Friday morning and threatened LODGE OF ELKS 75 couples enjoyed a fine dune** be closed to the public. A Meeting Which Wi Be of ^ at one time to wipe out a large portion program, besides a large number of This question has been answered by t f l l B U f H r i l K r J ^ | )# 2 5 ° f business section of the town. spectators being present. Interest to Every Farmer no less a personage than Dr. Woods A Social Event Which Was Many were attracted to attend, to Two of the principal brick bocks Hutchinson who says: V witness the contest for the prize “We closed theatres and business “ Dux" and Elk* will meet Feb. 25th were entirely destroyed by the fire An event always looked forward to A Great Success offered for the best waltzers, and al­ houses because we did not know what OfBlcials representing the Elks Club which broke out in the Vogue Theatre with a great deal of pleasure by the though the number of contestants for else to do.
  • U.S. Sheet Music Collection

    U.S. Sheet Music Collection

    U.S. SHEET MUSIC COLLECTION SUB-GROUP I, SERIES 4, SUB-SERIES B (VOCAL) Consists of vocal sheet music published between 1861 and 1890. Titles are arranged in alphabetical order by surname of known composer or arranger; anonymous compositions are inserted in alphabetical order by title. ______________________________________________________________________________ Box 181 Abbot, Jno. M. Gently, Lord! Oh, Gently Lead Us. For Soprano Solo and Quartette. Harmonized and adapted from a German melody. Troy, NY: C. W. Harris, 1867. Abbot, John M. God Is Love. Trio for Soprano, Tenor, and Basso. Adapted from Conradin Kreutzer. New York: Wm. A. Pond & Co., 1865. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Alphonzo Smith, 1862. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Charles C. Sawyer, 1862. 3 copies. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: J. W. Smith, Jr., 1862. 3 copies. Abbot, John M. Softly now the light of day. Hymn with solos for Soprano, Tenor, and Contralto or Baritone. New York: S. T. Gordon, 1866. Abbott, Jane Bingham. Just For To-Day. Sacred Song for Soprano. Words by Samuel Wilberforce. Chicago: Clayton F. Summy Co., 1894. Abraham’s Daughter; or, Raw Recruits. For voice and piano. New York: Firth, Pond & Co., 1862. Cover features lithograph printed by Sarony, Major & Knapp. Abt, Franz. Absence and Return. For voice and piano. Words by J. E. Carpenter, PhD. From “New Songs by Franz Abt.” Boston: Oliver Ditson & Co., [s.d.]. Abt, Franz. Autumnal Winds (Es Braust der Herbstwind). Song for Soprano or Tenor in D Minor.
  • Theater Playbills and Programs Collection, 1875-1972

    Theater Playbills and Programs Collection, 1875-1972

    Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items.
  • Editing the Double Bass Concerto of Antonio Scontrino

    Editing the Double Bass Concerto of Antonio Scontrino

    The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-1-2020 Editing the Double Bass Concerto of Antonio Scontrino Roberto Pineda Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Pineda, Roberto, "Editing the Double Bass Concerto of Antonio Scontrino" (2020). Dissertations. 1835. https://aquila.usm.edu/dissertations/1835 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. EDITING THE DOUBLE BASS CONCERTO OF ANTONIO SCONTRINO by Roberto Pineda A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Marcos Machado, Committee Chair Dr. Joseph Brumbeloe Dr. Christopher Goertzen Dr. Hsiaopei Lee Dr. Stephen Redfield December 2020 COPYRIGHT BY Roberto Pineda 2020 Published by the Graduate School ABSTRACT Antonio Scontrino (1850-1922) was an important Italian Romantic composer, virtuoso double bassist, and respected pedagogue who is relatively unknown outside of the Italian musical community. His compositional output is prolific and includes string quartets, operas, symphonies, concerti, solo pieces, songs, and religious works. Indeed, Scontrino was a compelling composer who deserves more attention from the international musical community. In addition to his compositional expertise, he was an artful double bass performer whose works for the instrument, while distinctly idiomatic, are compositions of high quality.
  • March 1909) James Francis Cooke

    March 1909) James Francis Cooke

    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 3-1-1909 Volume 27, Number 03 (March 1909) James Francis Cooke 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 Cooke, James Francis. "Volume 27, Number 03 (March 1909)." , (1909). https://digitalcommons.gardner-webb.edu/etude/545 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]. 4 MARH41- - mirr^ $1.50 per year Theodore Presser, Philadelphia 15c. per copy 145 SIX HAND THE ETUDE New Publications F THE EDITOR’S COLUMN MME. MARCELLA SEMBRICH ON “HOW » following ensemble pieces include all FORTUNES ARE WASTED IN The Isle of Jewels 1 Women’s Club Collection s ,Sserin^^fchaTs' W of interest to our readers. VOCAL EDUCATION.” Juvenile Album Part Songs and Choruses st. ard foreign c0Q^p°£f sj/t”sf'VoveftteS are Seated upon a throne on the stage of the ^ OPERETTA FOR YOUNG PEOPLE Price, 35 Cents . bo g “the number? We' shall continue to add A MONTHLY JOURNAL FOR THE MUSICIAN, THE ORDER THE APRIL ISSUE NOW AND Metropolitan Opera House, New York, sur- f FOR THE PIANOFORTE „„?of merit from time lo time until we have Text by JESSICA MOORE J of ci"br cino™‘l'sbandC higS'^chools.
  • OCR Document

    OCR Document

    Domenico Carboni: GRIEG AND SGAMBATI IN ROME SGAMBATI NO LONGER LIVES HERE Giovanni Sgambati no longer lives at 93 Piazza di Spagna. He was evicted from his flat where, as can be seen from the memorial plaque affixed by the R. Accademia Filarmonica Romana, "he lived far thirty- seven years and died on 14 December 1914". It is true that his bodily remains left the house at the date inscribed on the plaque, but the engraved dates make it appear that the maestro had lived there uninterruptedly until his death. His daughter-in-law Giuseppina, the sole surviving descendant, had religiously kept everything as if her father were still alive: his pencils and glasses lay on the desk, while on a shelf were his conductor's batons. One of these, made out of ebony, had a silver handle on which was engraved "Liszt to Giovanni Sgambati, director of the Dante Symphony". In a display case a visiting card from Johannes Brahms lay propped up against a coffee cup, and in the centre of the salon, pride of place was given to Liszt's favourite chair. Giuseppina never failed to show the few privileged visitors of her private museum the score of Die Walküre, with its corrections in Wagner's own hand, far the great composer, having noticed this edition lying on a shelf, informed Sgambati that it contained a number of typographical errors, asked for a pencil and proceeded to correct the score. Even if it was no more than four semibreves, they were after all written by the composer of the Ring.