DOCSLIB.ORG

Page 1:Page 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Page 1:Page 1 TheThe SteubenSteuben NewsNews A Newspaper by German-Americans for All Americans VOL. 89 NO.2 DUTY • JUSTICE • CHARITY • TOLERANCE MARCH/APRIL 2016 The Coral House in Baldwin, NY is the site of this yearʼs 97th Anniversary Gala Celebration National Council 97th Anniversary German American Heritage Center in Davenport IA has on-going Gala Luncheon exhibits pertaining to German immigration and events highlighting Join us as we celebrate our 97th year of existence. With a German-American contributions to American culture, history and break of tradition, instead of the Founders Day Banquet, we will society. gather on May 22, 2015 2:00-6:00 p.m. at the Coral House, 70 Milburn Avenue in Baldwin, NY, for a festive luncheon enhanced German-American Heritage Center by the musical entertainment of John Weber. We will honor our Preserves Germanic Culture in Davenport, Iowa Founders, our Patron, and the Men and Women who serve in our In the mid-to-late 1800’s millions of German citizens left Armed Forces. This year's food is as follows: their homeland and settled as immigrants in the United States. The The cocktail hour includes butler-passed top shelf hors d’ou- 1900 U.S. Census documented that over half the citizens in Iowa, vres. The four course dinner includes pasta, caesar salad and for the Nebraska, Wisconsin, Minnesota, North Dakota and South Dakota main course a choice of Loin of Pork, Salmon or Skirt Steak. were German immigrants or their descendents. Scott County, where Special cake and coffee will be served for dessert. Soda is included. the first passenger railroad crossed the Mississippi River, was the There will be a cash bar. 97th Anniversary Gala tickets are $70 per entry point for many immigrants to the upper Midwest region and person and c-hildren under 12 are $35 per child. Please make check points west. In 1900, Joseph Eiboeck, a veteran German newspa- payable to Steuben Society of America and mail to Elyse Land, P.O. perman, described Davenport as, “the most German city, not only in Box 777, Levittown, NY, 11756. the State, but in all the Middle West, the center of all German activ- We need your support for this important event. Please invite ities in the State.” your friends and family! Founded on August 1, 1994 as a private, not-for-profit organ- PLEASE SUPPORT THE CENTENNIAL CLUB ization, the German American Heritage Center (GAHC) seeks to preserve the heritage of our German speaking ancestors for present In anticipation of our Centennial Anniversary Celebration, we have established the Centennial Club inviting donations of $100. and future generations and to enrich our Donors will be acknowledged in Steuben News. knowledge of the German immigrant experience. Please make check payable to Steuben Society of America PERMIT #12 PAID US POSTAGE Today, GAHC, a National BULK RATE (Note: “Centennial Club”) and mail to: Steuben Society of America, THIRD CLASS One South Ocean Ave. Suite 217, Patchogue, NY 11772 Historic Site, has evolved a museum 11790 BROOK, NY STONY that includes a large permanent exhibit Your Name:___________________________________ and two rotating special exhibits. Address:______________________________________ Contʼd Next page Village:___________________State_____Zip:__________ The Steuben Society of America is N All donations are tax deductible IO dedicated to unite men and women T Visit Steuben Societyʼs New YouTube Channel and watch the of Germanic origin who share a September 2015 Erick Kurz Memorial Lecture common interest in the positive and CORREC by Robert Selig entitled, “Grorg Daniel Flohr and continued growth of our nation as ED SS well as the preservation of our rich ST his Travels in America (1780-1781)” heritage. For more info: www.youtube.com/watch?v=TTMiaKc-ICw www.steubensociety.org Steuben Society of America Suite 217 One South Ocean Ave. NY 11772 Patchogue, ADDRE REQUE MARCH/APRIL 2016 THE STEUBEN NEWS Page 2 GAHC Contd from front cover Steuben Maquette of Jaeger’s Von Steuben dren's books for the Statue Restored at Steuben House, NJ next ten years, there is Within the permanent exhibit, visitors experience February 21 at 12:30 p.m. in the Steuben a general consensus an orientation theater, six education stations, and House, preceding the opening of the ball, the Bergen that this book is her two restored hotel rooms. They enjoy an interac- County Historical Society, joined by special guests, masterpiece. tive experience as you learn about immigrants’ unveiled sculptor Albert Jaeger's three-quarter-sized Wanda was a journey by sea, train and foot, to their final desti- maquette of Major General Friedrich Wilhelm Baron classically trained and nation at the German American Heritage Center von Steuben, made in preparation for the bronze statue educated artist, knowl- building, which was originally a very busy hotel of Baron von Steuben erected in Lafayette Park in edgeable in many for thousands of immigrants in the 1860s. One of 1910, opposite the White House. Damaged during respects about the the highlights in the exhibit is called “Step into Hurricane Sandy while stored in an off-site warehouse, great artists and styles my Shoes.” this 107-year-old plaster model was repaired by con- that came before her Visitors will find footprints of a child, servator Gary McGowan of CPR, Inc., through FEMA time. She was also a female and male at this section. They can step on funding secured by the Bergen County Historical fierce idealist and did any set of the footprints, which then triggers the Society. Thank you FEMA! For more info, visit not believe in altering corresponding character to appear before them www.bergencountyhistory.org, her own aestheticism on a screen and talk about their personal experi- [email protected] 201-343- just because she was ence as an immigrant. Visitors may also try on 9492 producing work for clothing that immigrants would have worn dur- ****************** children. She liked to ing the turn of the century, and enjoy exploring Wanda Gag: German-American use stylized human many artifacts on display. The museum also pro- figures, asymmetrical vides educational programs, workshops and Artist from New Ulm MN compositions, strong classes relating to the German American experi- Anton Gag, born in Walk, Bohemia, in 1858, lines and slight spatial ence and culture; assists in the coordination of immigrated to New Ulm in 1879. He married distortions. The real festivals to foster an understanding of German Elizabeth "Lizzie" Biebl, also of Bohemian heritage, source of her expres- American heritage; provides for cultural in 1892. They had seven children: Wanda, born in German-American Wanda Gag, is considered sionistic pictures can exchange through language classes and produc- 1893, followed by Stella, Thusnelda, Asta, Dehli, Americaʼs first childrenʼs book illustrator- be traced back to her tion of cultural presentations to the public; and Howard, and Flavia. They were surrounded by Old author. partners with other heritage groups on programs, World customs, folklore, and folk songs, and spoke a own discoveries as a exhibits and events. German dialect. Anton built this Queen Anne style young art student in Minnesota. She had a strong desire to get at the The GAHC building was built in the house in 1894. "essence" of the object and idea, which meant she was going beyond visu- 1860s, and was originally the Standard Hotel Anton made his living as a photographer and al description through stylized design. She epitomized Lynd Ward's where thousands of German immigrants stayed painter who also decorated houses, churches (includ- description of the realist credo: "I will make the best pictures of which I am in the 1800s when they arrived in the area. The ing the New Ulm Cathedral), and public buildings. capable, whether for children or grown-ups." building was purchased in 1995, partially Anton's painting, "Attack on New Ulm During the She also had a keen sense for detail and authenticity. For Millions restored in 1999, and reopened to the public in Sioux Outbreak," hangs in the Capitol in St. Paul. As of Cats she used her own two cats as models. Her use of white space and May, 2000. In October 2009, GAHC debuted a he was dying in 1908, Anton implored 15-year-old her acute sense of design principles can be seen in the last picture in the newly expanded space including a new large Wanda, "What Papa was unable to accomplish, book. Although she does not specifically write the words, "and they lived interactive permanent exhibit called the “German Wanda will have to finish." happily ever after," as readers we get the distinct impression that the old Immigrant Experience,” two traveling exhibit Wanda graduated from New Ulm High in man and the old woman actually do. In the background are their happy spaces, and large program facilities. GAHC 1912, then went on to art schools in St. Paul, wedding photos, and the picture itself feels very intimate and cozy. Gag offers several new programs based on the new Minneapolis, and New York. After a brief period uses circles in this final frame which are pleasing to the eye and suggest permanent exhibit and two new temporary exhib- doing commercial art, Wanda developed into a world- harmony. Note the circular rug, table and light emanating from the lamp on it spaces. GAHC is located at 712 West Second famous printmaker and watercolor painter. She was the table. There is a great deal of symmetry in the scene as well and the eye Street, Davenport, Iowa 52802. honored annually from 1927 to 1938 by the American notes a feeling of satisfaction and contentment. The German immigrant experience is an Institute of Graphic Artists. The handmade lettering not only fits comfortably around the illus- integral part of the history and fabric of life in In 1928, Wanda Gag wrote and illustrated trations, it also serves as a visual link between the pictures and the story.
Load more

Recommended publications
  • William Burnet Tuthill Collection
    WILLIAM BURNET TUTHILL COLLECTION William Burnet Tuthill Collection Guide Overview: Repository: Inclusive Dates: Carnegie Hall Archives – 1891 - 1920 Storage Room Creator: Extent: William Burnet Tuthill 1 box, 42 folders; 1 Scrapbook (10 X 15 X 3.5), 5 pages + 1 folder; 44 architectural drawings Summary / Abstract: William Burnet Tuthill is the architect of Carnegie Hall. He was an amateur cellist, the secretary of the Oratorio Society, and an active man in the music panorama of New York. The Collection includes the questionnaires he sent to European theaters to investigate about other theaters and hall, a scrapbook with clippings of articles and lithographs of his works, and a series of architectural drawings for the Hall and its renovations. Access and restriction: This collection is open to on-site access. Appointments must be made with Carnegie Hall Archives. Due to the fragile nature of the Scrapbook, consultation could be restricted by archivist’s choice. To publish images of material from this collection, permission must be obtained in writing from the Carnegie Hall Archives Collection Identifier & Preferred citation note: CHA – WBTC – Q (001-042) ; CHA – WBTC – S (001-011) ; CHA – AD (001-044) William Burnet Tuthill Collection, Personal Collections, Carnegie Hall Archives, NY Biography of William Burnet Tuthill William Burnet Tuthill born in Hoboken, New Jersey, in 1855. He was a professional architect as well as passionate and amateur musician, a good cellist, and an active man in the music scene of New York. He studied at College of the City of New York in 1875 and after receiving the Master of Arts degree, started his architectural career in Richard Morris Hunt’s atelier (renowned architect recognized for the main hall and the façade of the Metropolitan Museum on Fifth Avenue, the Charity Home on Amsterdam Avenue – now the Hosteling International Building- and the pedestal of the Statue of Liberty).
    [Show full text]
  • An Exploration of the Availability and Implementation of Undergraduate Degrees in Conducting in the United States Erik Lee Garriott University of South Carolina
    University of South Carolina Scholar Commons Theses and Dissertations 2017 An Exploration of the Availability and Implementation of Undergraduate Degrees in Conducting in the United States Erik Lee Garriott University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Other Music Commons Recommended Citation Garriott, E. L.(2017). An Exploration of the Availability and Implementation of Undergraduate Degrees in Conducting in the United States. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/4100 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. An Exploration of the Availability and Implementation of Undergraduate Degrees in Conducting in the United States by Erik Lee Garriott Bachelor of Arts Point Loma Nazarene University, 2010 Master of Music California State University Northridge, 2013 _________________________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Conducting School of Music University of South Carolina 2017 Accepted by: Donald Portnoy, Major Professor Cormac Cannon, Chair, Examining Committee Andrew Gowan, Committee Member Alicia Walker, Committee Member Kunio Hara, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Erik Lee Garriott,
    [Show full text]
  • -Fo Oc Cs>Fiifr[Tftk<L- — Lof <R
    , -fo Oc Cs>fiifr[tfTk<l- — Lof <r - : OXAK" — *5h(VF 6&i-f[/N3 uUPcflUY- J[« (JobL 3 %OAArLdc Mk/J /\ifaxir\Q fU> fbbxJ JUtkLsMc •» • 3 • \HxKxapai tfom pxrz. 5(o '<3>^ 55 5\ 5o (o-3-&\ fa tlJt Brot&* {) 5-22- 45 . c^ J .^^"io^U; 1&uuu^ajp<& CM-M^cyL5ta^ l i /cto^TLT. 6LO^ h&cQtyOte 51 . a -t 15* 35 <?4 u S3 •52. U -CjLl€hj01&-- Iv3l ^tcL?U J^UMj^tO^ zi ^ _.Ei-ciw_p4#_ QoU_. GIMJX ^c^co6 &cJ._^st. Z3 C^dLG— Cr?. fihfoJ^dtf'Gsi 2.2, ^ (jo Z( 2O Q 16 w 17 i ^ 15 4-2-5? <fl 13 II -uSj-f <n. fads - Ste&ttelL TcujrNztrtLti-. .. IP.. of q ..s. - past _ i A 1-13- Q od. .c?_ ttCJL 3 a 2 (-15-59 u % 7 i* DEPARTMEN O F PA R K S ARSENAL, CENTRAL PARK REGENT 4-1000 FOR RELEASE THURSDAY, DECEMBER 24, 1959 l-l-l-60M-707199(58) 114 The Department of Parks announces that a •baby- female hippopotamus weighing approximately 70 lbs. was born on November 24, 1959, at the Prospect Park &oo in Brooklyn. The mother, Betsy, now 9 years old, arrived at the Prospect Park &oo on September 8, 1953, and the sire, "Dodger", was 3 years old v/hen he arrived in 1951. However, "Dodger" passed away on October 8, 1959, and will not be around to hand out cigars. The new offspring has been named "'Annie". N.B. s Press photographs may be taken at tine* 12/23/59 DEPARTMEN O F PA R K S ARSENAL, CENTRAL PARK REGENT 4-1000 FOR RELEASE SUHDAY, D5CBMHBR 20, 1959 M-l-60M-529Q72(59) 114 The Borough President of Richmond and the Department of Parks announce the award of contracts, in the amount of $2,479,487, for the second stage of construction of the South Beach improvement in Staten Islitnd.
    [Show full text]
  • Jewish Contributions to Music
    Jewish Contributions to the Art of Music By: Cantor Paul Kowarsky How significant was the Jewish contribution to the development of the art of music? Many of the early Christians were formerly Jews, and brought their Jewish music & melodies into their churches. Research and comparison studies with Gregorian chants have proven conclusively the debt which early church music owes to Ancient Jewish music. This fact impacts upon the entire history and development of the art of music. Biblical texts inspired the early Italian composers and were the basis for the texts of numerous great choral works such as many of Handel's compositions for choir, Haydn's "The Creation" and Mendelssohn's "Elijah." The influence of Jewish song is clear in the works of many great 19th Century composers: Bruch's Kol Nidrei and "Three Hebrew Melodies"; Mussorgsky's "Joshua", Rimsky Korsakov’s song entitled: "Chanson Hebraique," to mention but a few. After the destruction of the Temple and the ban on instrumental playing at services, Jewish musical talent was found in synagogue singing. Young boys sang in choirs and then became cantors (as did I). Many of the great cantors were admired also by the non-Jewish world. Cantor Israel Lovy (1773-1832) of the Great Synagogue in Paris, was invited by Maximilian Joseph Duke of Bavaria, to sing the tenor part in Haydn's "Creation". Cantor Salomon Sulzer (1844-1890) of Vienna was recognized as the first interpreter of the songs of his friend, Franz Schubert. Franz Liszt's laudatory writings about how moved he was when hearing Sulzer daven, are well-known.
    [Show full text]
  • Music (Opportunities for Research in the Watkinson Library)
    Trinity College Trinity College Digital Repository Watkinson Library (Rare books & Special Watkinson Publications Collections) 2016 American Periodicals: Music (Opportunities for Research in the Watkinson Library) Leonard Banco Follow this and additional works at: https://digitalrepository.trincoll.edu/exhibitions Part of the Musicology Commons Recommended Citation Banco, Leonard, "American Periodicals: Music (Opportunities for Research in the Watkinson Library)" (2016). Watkinson Publications. 22. https://digitalrepository.trincoll.edu/exhibitions/22 Opportunities for Research in the Watkinson Library • • • • American Perioclicals: USIC Series Introduction A traditional focus of collecting in the Watkinson since we opened on August 28, 1866, has been American periodicals, and we have quite a good representation of them from the late 18th to the early 20th centuries. However, in terms of "discoverability" (to use the current term), it is not enough to represent each of the 600-plus titles in the online catalog. We hope that our students, faculty, and other researchers will appreciate this series ofannotated guides to our periodicals, broken down into basic themes (politics, music, science and medicine, children, education, women, etc.), MUSIC all of which have been compiled by Watkinson Trustee and Introduction volunteer Dr. Leonard Banco. We extend our deep thanks to Len for the hundreds of hours he has devoted to this project The library holds a relatively small but significant since the spring of 2014. His breadth of knowledge about the collection of19 periodicals focusing on music that period and inquisitive nature has made it possible for us to reflects the breadth ofmusical life in 19th-century promote a unique resource through this work, which has America as it transitioned from an agrarian to an already been of great use to visiting scholars and Trinity industrial society.
    [Show full text]
  • Jan Dewilde Paper 2009
    Frank Van der Stucken (1858-1929): a friend of Grieg and translator of his songs Lecture for International Edvard Grieg Conference, Berlin, 13-16 May 2009 This paper fits in with a research project that is presently being implemented in the library of the Royal Conservatoire of Antwerp about the composer-conductor Frank Van der Stucken. The library preserves a large collection of scores and documents of Van der Stucken, which form the basis of this research. The contacts between Edvard Grieg and the Flemish composer-pianist Arthur De Greef (1862-1940), who met in 1888, are well documented, but the piano virtuoso De Greef wasn’t Grieg’s first Flemish contact. One decade before, Grieg had already got to know an American composer with Flemish roots, namely Frank Van der Stucken. Frank Van der Stucken was born in 1858 in Fredericksburg, Texas, as the son of a Flemish father and a German mother.1 When the Secession War (1861-1865) had finished, the family no longer felt safe in Texas and in 1865 they returned to father Van der Stucken’s native town of Antwerp (Belgium). There Van der Stucken junior studied at the Flemish School of Music – the later Royal Flemish Conservatoire. He was a student of the director Peter Benoit (1834-1901), the standard bearer of nationalist music in Flanders. After his studies with Benoit, Van der Stucken went to Leipzig in 1878, like so many of his contemporaries, with a view to continuing his formation with Carl Reinecke. That’s where he first met Grieg, who became his friend.
    [Show full text]
  • Choral Union Concert Series
    UNIVERSITY MUSICAL SOCIETY CHARLES A. SINK, PRESIDENT THOR JOHNSON, GUEST CONDUCTOR LESTER MCCOY, ASSOCIATE CONDUCTOR Second Concert 1947-1948 Complete Series 2957 Sixty-ninth Annual Choral Union Concert Series CHICAGO SYMPHONY ORCHESTRA ARTUR RODZINSKI, Conductor SUNDAY EVENING, OCTOBER 26, 1947, AT 7:00 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Toccata and Fugue in D minor BACH Symphony No. 1 in C minor, Op. 68 ... BRAHMS Un poco sostenuto, allegro Andante sostenuto Un poco allegretto e grazioso Adagio, piu andante; allegro non troppo, ma con brio INTERMISSION Suite from the Ballet, "Appalachian Spring" .... COPLAND Three Dances from "Gaynne" KHATCHATTJRIAN NOTE.—The University Musical Society has presented the Chicago Symphony Orchestra on pre­ vious occasions as follows: Choral Union Series, Theodore Thomas, conductor (7); in thirty-one May Festivals (1905-1935 inclusive), and in the Choral Union Series, November 2, 1936 and November 30; 1941, Frederick Stock, conductor; March 19, 1945, January 31, 1946, and March 16, 1947, Desire Defauw, conductor. ARS LONGA VITA BREVIS PROGRAM NOTES by FELIX BOROWSKI Toccata and Fugue, D minor .... JOHANN SEBASTIAN BACH Transcribed for Orchestra by Julius Wertheim Bach composed two toccatas in D minor for organ followed in each case by a fugue, both having been composed during his period of service at Weimar as "kam- mermusicus" and concertmaster at the court of Wilhelm Ernst, Duke of Sachsen- Weimar. The instrument in the ducal chapel, for which Bach wrote some of his greatest masterpieces, was a small one (as compared with modern organs), containing nine stops on the Great, eight on the Choir, and seven on the Pedal organ.
    [Show full text]
  • Edvard Grieg Stands As the Most Essential
    Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Peer Gynt Suite No. 1, Op. 46 Piano Concerto in A minor, Op. 16 Edvard Grieg dvard Grieg stands as the most essential Ecomposer in the history of Norwegian IN SHORT music, a distinction he already clinched Born: June 15, 1843, in Bergen, Norway during his lifetime and would not relinquish in posterity. When he was growing up, his Died: September 4, 1907, in Bergen native country could offer a composer only Works composed and premiered: inciden- limited opportunities for advanced study; tal music to the play Peer Gynt, composed and so he left Norway to enroll, from 1858 to May 1874–September 1875, with additions and 1862, at the Leipzig Conservatory, a destina- revisions continuing through 1902; the four tion for many international music students movements of Peer Gynt Suite No. 1, assembled for publication in 1888; Ibsen’s of the time and a sturdy source of tradition- play Peer Gynt premiered in Christiania (later al learning when it came to musical funda- known as Oslo), Norway, on February 24, mentals and composition. Although in his 1876, with incidental music conducted by later years Grieg would speak of the Leipzig Johan Hennum; Suite No. 1, premiered Conservatory in unflattering terms, the four January 24, 1889, at Chickering Hall in New years he spent there were undeniably im- York City, with Theodore Thomas leading his portant to his development, thanks to his orchestra. Piano Concerto composed June work with such eminent teachers as Ignaz 1868 to early 1869; revised substantially in Moscheles for piano and Carl Reinecke for 1872, 1882, 1890, and 1895; premiered April 3, composition.
    [Show full text]
  • Ceriani the Reception of Alberto Franchetti’S Works in the United States 271 Marialuisa Pepi Franchetti Attraverso I Documenti Del Gabinetto G.P
    Alberto Franchetti. l’uomo, il compositore, l’artista Atti del convegno internazionale Reggio Emilia, 18-19 settembre 2010 a cura di Paolo Giorgi e Richard Erkens Alberto Franchetti. L’uomo, il compositore, l’artista il compositore, L’uomo, Franchetti. Alberto associazione per il musicista ALBERTO FRANCHETTI Alberto Franchetti l’uomo, il compositore, l’artista associazione per il musicista FRANCHETTI ALBERTO a cura di Paolo Giorgi e Richard Erkens € 30,00 LIM Libreria Musicale Italiana Questa pubblicazione è stata realizzata dall’Associazione per il musicista Alberto Franchetti, in collaborazione con il Comune di Regio Emilia / Biblioteca Panizzi, e con il sostegno di Stefano e Ileana Franchetti. Soci benemeriti dell’Associazione per il musicista Alberto Franchetti Famiglia Ponsi Stefano e Ileana Franchetti Fondazione I Teatri – Reggio Emilia Fondazione Pietro Manodori – Reggio Emilia Hotel Posta – Reggio Emilia Redazione, grafica e layout: Ugo Giani © 2015 Libreria Musicale Italiana srl, via di Arsina 296/f, 55100 Lucca [email protected] www.lim.it Tutti i diritti sono riservati. Nessuna parte di questa pubblicazione potrà essere riprodot- ta, archiviata in sistemi di ricerca e trasmessa in qualunque forma elettronica, meccani- ca, fotocopiata, registrata o altro senza il permesso dell’editore, dell’autore e del curatore. ISBN 978-88-7096-817-0 associazione per il musicista ALBERTO FRANCHETTI Alberto Franchetti l’uomo, il compositore, l’artista Atti del convegno internazionale Reggio Emilia, 18-19 settembre 2010 a cura di Paolo Giorgi e Richard Erkens Libreria Musicale Italiana Alla memoria di Elena Franchetti (1922-2009) Sommario Presentazione, Luca Vecchi xi Premessa, Stefano Maccarini Foscolo xiii Paolo Giorgi – Richard Erkens Introduzione xv Alberto Franchetti (1860-1942) l’uomo, il compositore, l’artista Parte I Dal sinfonista all’operista internazionale Antonio Rostagno Alberto Franchetti nel contesto del sinfonismo italiano di fine Ottocento 5 Emanuele d’Angelo Alla scuola di Boito.
    [Show full text]
  • Ernest Bloch in San Francisco
    Min-Ad: Israel Studies in Musicology Online David Z. Kushner – Ernest Bloch in San Francisco ERNEST BLOCH IN SAN FRANCISCO DAVID Z. KUSHNER Ernest Bloch’s arrival on American shores, on 30 July 1916, marked the beginning of his lengthy career in the United States. Like other European fortune seekers who left behind a war-stricken Europe, which offered little hope for financial survival, he went through a period of economic instability, networking with his connections and experimenting with a variety of musical and artistic enterprises. Despite early financial disappointment as conductor of an ill-fated tour by the Maud Allan dance company, he capitalized on such European connections as the Flonzaley Quartet, and support from such influential luminaries as Paul Rosenfeld, Waldo Frank, and Olin Downes. He was thus able to get important performances and to cement further a network of devoted yea- sayers. Brief teaching engagements at the recently founded Mannes Music School in New York (1917- 20), the Hartt School of Music (1919-20), and the Bird School in Peterborough, New Hampshire (summer 1919) paved the way toward his appointment as director of the newly formed Cleveland Institute of Music (1920-25). During his final year there, increasing strife between the maestro, his assistant director, and the trustees of the school eventually led to his resignation.1 Bloch once again was called by fate and by the invitation of Ada Clement and Lillian Hodghead to go further west to serve as artistic director and teacher at the San Francisco Conservatory of Music.2 Bloch was a public figure by then, and the press heralded his arrival on the western frontier.
    [Show full text]
  • Tchaikovsky Violin Concerto in D Major, Op
    23 Season 2018-2019 Thursday, September 20, at 7:30 The Philadelphia Orchestra Friday, September 21, at 2:00 Saturday, September 22, Yannick Nézet-Séguin Conductor at 8:00 Lisa Batiashvili Violin Berwald Symphony No. 3 in C major (“Sinfonie singulière”) I. Allegro fuocoso II. Adagio III. Finale: Presto First Philadelphia Orchestra performances Sibelius Symphony No. 7, Op. 105 (In one movement) Intermission Tchaikovsky Violin Concerto in D major, Op. 35 I. Allegro moderato—Moderato assai II. Canzonetta: Andante— III. Allegro vivacissimo This program runs approximately 1 hour, 50 minutes. LiveNote® 2.0, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. The September 20 concert is sponsored by Mrs. Lyn M. Ross in memory of George M. Ross. The September 21 concert is sponsored by Edith R. Dixon. The September 22 concert is sponsored by David Haas. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. ® Getting Started with LiveNote 2.0 » Please silence your phone ringer. » Make sure you are connected to the internet via a Wi-Fi or cellular connection. » Download the Philadelphia Orchestra app from the Apple App Store or Google Play Store. » Once downloaded open the Philadelphia Orchestra app. » Select the LiveNote tab in the bottom left corner. » Tap “OPEN” on the Philadelphia Orchestra concert you are attending. » Tap the “LIVE” red circle. The app will now automatically advance slides as the live concert progresses.
    [Show full text]
  • 04-05-2017 Fidelio.Indd
    Synopsis Act I Marzelline, daughter of the prison warden Rocco, rejects the attentions of her father’s assistant, Jaquino, who wants to marry her. She has fallen in love with his hardworking new assistant, Fidelio. Rocco approves of the match and tells her that he will seek permission for the marriage from Don Pizarro, the governor of the prison. But Fidelio is in fact Leonore. Desperately searching for her husband, Florestan, who has been held as a political prisoner for two years, she has disguised herself as a man. When Rocco mentions a prisoner lying near death in a subterranean cell, Leonore suspects it might be Florestan and begs Rocco to take her on his rounds, even though it is forbidden. Pizarro learns that Don Fernando, minister of state, is on his way to inspect the prison. He realizes that if Fernando discovers that his friend Florestan is alive, all Pizarro’s plans will be lost. He tries to bribe Rocco to murder Florestan, but Rocco refuses. He then decides to kill him himself and orders Rocco to dig the grave. Leonore, who has overheard Pizarro, prays for the strength to save her husband. She asks for the prisoners to be given a few moments of fresh air, which Rocco grudgingly allows. Pizarro orders them back into their cells and makes it clear to Rocco that he must not disobey orders. Rocco and Leonore descend into the prison to dig the grave. Act II In his cell, Florestan hallucinates that Leonore has arrived to free him. But his vision turns to despair, and he collapses in exhaustion.
    [Show full text]