Soundingthe Mystic Chords of Memory': Musical Memorials For

Total Page:16

File Type:pdf, Size:1020Kb

Soundingthe Mystic Chords of Memory': Musical Memorials For Sounding “The Mystic Chords of Memory”: Musical Memorials for Abraham Lincoln, 1865–2009 A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Thomas J. Kernan BM, University of Missouri-Kansas City, 2005 MM, University of Cincinnati, 2010 Committee Chair: bruce d. mcclung, PhD ABSTRACT Composers have memorialized Abraham Lincoln in musical works for the home, concert hall, and theater stage from his death in 1865 to, most recently, the 2009 bicentennial of his birth. They have invoked the name, biography, or character of Lincoln in compositions that address social, cultural, and political movements of their own times and places. In this study I consider the music composed and performed during Lincoln’s national funeral, Reconstruction, periods of mass immigration, the Civil Rights Movement, and the bicentennial of the president’s birth. In this music composers have portrayed Lincoln as martyr and saint, political advocate, friend to the foreigner and common man, and champion of equality. This study touches on issues of modernism and postmodernism, with specific consideration of changes in funerary and mourning rituals as well as the consequences of industrialization, commercialization, and the internet age in shaping presidential legacies. Careful attention is paid to aspects of ritual, protest, and cultural change. I argue that composers, through their memorial songs, symphonies, and dramas, have shared in creating our historical memory of the first martyred president. Moreover, I posit that the American desire for a civic leader with recognizable moral security, to which subsequent generations have bound their causes, has led to a series of changes in the Lincoln topos itself. The ability of musical memorials to thrive in dynamic, public arts—funerals, rituals, protests, and commemorations—evinces that these compositions provide an effective means for tracing the trajectory of American historical memory over a span of 150 years. This analysis advances our understanding of the role musical culture can play in both shaping a presidential legacy, and promoting social and political causes. ii Copyright © 2014 by Thomas J. Kernan All rights reserved iii To members of the U.S. Armed Forces who have perished in war ACKNOWLEDGMENTS I am grateful to the individuals who have provided assistance in locating sources for this study, especially Zachary Garrison, Barbara Harbach, Harold Holzer, Kim H. Kowalke, John Malveaux, Ellen Weinberg Mausner, Christian McWhirter, and Nell Stemmermann. I am similarly thankful for having had access to the following libraries and for the exceptional support offered by staff members thereof: the Abraham Lincoln Presidential Library, especially James Cornelius; Boston Public Library, especially Metro Voloshin; Carnegie Library of Pittsburgh, especially Kirby Dilworth; Harvard University’s Houghton Library and University Archives; Hebrew Union College’s Klau Library, especially Laurel Wolfson; Huntington Library, especially Diann Benti, David Mihaly, Krystle Satrum, Olga Tsapina, and Jennifer Watts; Indiana University’s Lilly Library, especially David Frasier; Jacob Rader Marcus Center for the American Jewish Archives, especially Kevin Proffitt and Gary Zola; Kurt Weill Foundation, especially Dave Stein; Library of Congress; New York Public Library’s Music Division Special Collections, especially Bob Kosovsky, and Dorot Jewish Research Division, especially Amanda Seigel; New Mexico State University Archives, especially Martha Shipman Andrews; G. Schirmer Inc., especially Eileen Mack; University of Missouri-Kansas City Music Library, especially Debbie Keeton; URJ Press and Transcontinental Music, especially Rachel Wetstein; and YIVO Institute for Jewish Research, especially Gunnar Berg and Fruma Mohrer. I could not have completed my research without the generous financial assistance of the Cincinnati Branch of the English-Speaking Union, Ohio Federation of Music Clubs, Theodore Presser Foundation, and University of Cincinnati’s University Research Council. I am grateful for the support of friends, faculty, and colleagues at the University of Cincinnati, especially Ellis Anderson, who welcomed me to the College-Conservatory of Music v (CCM) as a fellow graduate student, introduced me to the vintage cocktail recipes compiled by Robert Hess, and has remained a close friend ever since; Mary Sue Morrow, who always offered clear and concise answers to seemingly complex questions about class schedules, registration, and degree requirements; and Christopher Phillips, who graciously opened his classes and seminars, and welcomed a musicologist to spend time with his American history advisees. I thank Jonathan Kregor for serving on my dissertation committee and providing many insights into navigating the closing years of graduate school and early stages of a career. I am indebted to Jeongwon Joe, not only for her service on all of my graduate-school committees, but also for the level of respect that she has displayed for my scholarship and teaching. bruce d. mcclung’s service as my dissertation advisor has included the careful reading of countless drafts of chapters, grant proposals, and papers. Moreover, his attention to detail in every task he undertakes has deeply influenced my approach to research, teaching, and life in general. The CCM Joseph and Frances Jones Poetker Thinking about Music Lecture Series played a critical role in my discernment of a dissertation topic. In March 2008 music theorist Steven Cahn invited James Schmidt from Boston University’s Political Science Department to lecture on a topic that the two had been discussing, “musical monuments.” I was immediately struck by this concept and have been grateful for the encouragement that both scholars have provided me since then. Beyond the outstanding support that I have received from colleagues and faculty members, I am equally touched by the kindness that I have known from individuals whose names are too numerous for this space, but whose impact has been profound, especially my friends from the Ohio State University History Department and the clergy and laity of Saint Joseph Cathedral (Columbus, Ohio). The aphorism that the best gift a father can give his children is to love their vi mother (or similarly, that the best gift a mother can give her children is to love their father) has been thoroughly demonstrated by the love that my parents, James and Ruth Kernan, have for each other, which has left an indelible mark on my heart, and it is a profound privilege for which I am eternally grateful. More recently that blessing has also been a part of my life through the tremendous love and affection that my in-laws, Paul and Vicki Peters, show each other, their daughter, and me. My wife, Sarah, is at the center of all aspects of my life and this dissertation, too. She generously sacrificed some of her research time to help gather sources for me at the British Library and New York Public Library. Sarah has patiently listened to my ideas in their most unpolished and assuredly frustrating forms. She has also lovingly provided a volume and quality of encouragement that I can only ever hope to reciprocate. Sarah has my enduring love for approaching all of this with her characteristic grace, devotion, joy, and stubbornness. Finally, I wish to offer a word about the dedication of this dissertation. The terrorist attacks of 11 September 2001 occurred in the early weeks of my sophomore year at the University of Missouri-Kansas City. Thus, for nearly the entire time of my undergraduate and graduate degrees, the United States has been at war—multiple wars—and a country with soldiers deployed to the far reaches of the globe. In writing a dissertation in which I regularly contemplated death, mourning, and memory, it has rarely been far from my mind that any difficulties encountered in pursuing a doctoral degree pale in comparison to the extreme sacrifices that have been made by service members and their families; so it was during the Civil War and so it is today. With hopes and prayers for the miracle of peace, but knowledge of the losses suffered by many, I gratefully dedicate this dissertation to the members of the U.S. Armed Forces members who have perished in war. vii CONTENTS COPYRIGHT PERMISSIONS ........................................................................................................x LIST OF EXAMPLES ................................................................................................................... xi LIST OF FIGURES ...................................................................................................................... xii LIST OF TABLES ....................................................................................................................... xiii INTRODUCTION ...........................................................................................................................1 Chapter 1. THE LINCOLN FUNERAL AND INITIAL DAYS OF MOURNING ...........................20 Initial Mourning .................................................................................................... 23 Performing the Funeral Procession .......................................................................25 Commemorations beyond the Train .......................................................................37
Recommended publications
  • The Year's Music
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c.
    [Show full text]
  • Music and the American Civil War
    “LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans.
    [Show full text]
  • Inecxxii, ISSUE XVIII SERVING the COLLEGE of WOOSTER SINCE 1883 Tuesday, February 21, 20O6
    The College of Wooster Open Works The oV ice: 2001-2011 "The oV ice" Student Newspaper Collection 2-21-2006 The oW oster Voice (Wooster, OH), 2006-02-21 Wooster Voice Editors Follow this and additional works at: https://openworks.wooster.edu/voice2001-2011 Recommended Citation Editors, Wooster Voice, "The oosW ter Voice (Wooster, OH), 2006-02-21" (2006). The Voice: 2001-2011. 405. https://openworks.wooster.edu/voice2001-2011/405 This Book is brought to you for free and open access by the "The oV ice" Student Newspaper Collection at Open Works, a service of The oC llege of Wooster Libraries. It has been accepted for inclusion in The oV ice: 2001-2011 by an authorized administrator of Open Works. For more information, please contact [email protected]. VOL.IneCXXII, ISSUE XVIII SERVING THE COLLEGE OF WOOSTER SINCE 1883 Tuesday, February 21, 20O6 "You can't blame anybody else ... I'm the guy who pulled the trigger and shot my friend. Vice President Dick Cheney in a public comment to Fox News Channel Wooster ; Fees-rise- sUiti Gifts butraoed this Liz Miller Robert Walton said the fee will contin- competitive salaries for faculty and that they paid much, much less ue to rise in 2007-0- 8 "and, most likely as staff members." because the College provided ample Editor-in-Chi- ef with other schools, each year after that." "I think it's ridiculous," said Gillian financial aid to make the cost more com- President R. Stanton Hales sent a let- The comprehensive fee is another Trownson '07. Trownson's aid does not parable to that of other public colleges." Monday, Feb.
    [Show full text]
  • Alt-Nation: Joe Moody, Electric Six and Handsome Pete
    Alt-Nation: Joe Moody, Electric Six and Handsome Pete When local studio owner Joe Moody passed away earlier this year it left a gaping wound in the heart of the local music community. Through his Danger Studio, Joe recorded hundreds of aspiring musicians across multiple genres. He gave many artists the opportunity to give voice to their dreams by documenting their work on a recording. In Joe’s honor, a motley collection of Providence metal titans will be reuniting to play together for the first time since 1997. Some of these bands — like Shed — have never done a reunion show! Kilgore Smudge vocalist Jay Berndt was kind enough to take some time to answer a few questions on the show, Kilgore and what he is up to now. Marc Clarkin: Can you talk about Joe Moody’s influence on your music career? Jay Berndt: With all the recording studios I’ve been in, Joe was easily the nicest, sweetest guy to work with. He had this immediate way of putting you at ease. And let’s face it: Musicians can be delicate creatures, especially under the microscope in the studio. When we first recorded our Spill demo with Joe in August 1993, we had never been in a recording studio. The whole recording process can be incredibly intimidating and Joe really helped build all of our confidence as songwriters and musicians. He just made the whole process interesting and fun. We recorded, overdubbed and mixed the 10 songs on Spill in 14 hours, which is just unheard of. It also fostered our love of recording because of that amazing first experience with Joe.
    [Show full text]
  • Program Book Final 1-16-15.Pdf
    4 5 7 BUFFALO PHILHARMONIC ORCHESTRA TABLE OF CONTENTS | JANUARY 24 – FEBRUARY 15, 2015 BPO Board of Trustees/BPO Foundation Board of Directors 11 BPO Musician Roster 15 Happy Birthday Mozart! 17 M&T Bank Classics Series January 24 & 25 Alan Parsons Live Project 25 BPO Rocks January 30 Ben Vereen 27 BPO Pops January 31 Russian Diversion 29 M&T Bank Classics Series February 7 & 8 Steve Lippia and Sinatra 35 BPO Pops February 13 & 14 A Very Beary Valentine 39 BPO Kids February 15 Corporate Sponsorships 41 Spotlight on Sponsor 42 Meet a Musician 44 Annual Fund 47 Patron Information 57 CONTACT VoIP phone service powered by BPO Administrative Offices (716) 885-0331 Development Office (716) 885-0331 Ext. 420 BPO Administrative Fax Line (716) 885-9372 Subscription Sales Office (716) 885-9371 Box Office (716) 885-5000 Group Sales Office (716) 885-5001 Box Office Fax Line (716) 885-5064 Kleinhans Music Hall (716) 883-3560 Buffalo Philharmonic Orchestra | 499 Franklin Street, Buffalo, NY 14202 www.bpo.org | [email protected] Kleinhan's Music Hall | 3 Symphony Circle, Buffalo, NY 14201 www.kleinhansbuffalo.org 9 MESSAGE FROM BOARD CHAIR Dear Patrons, Last month witnessed an especially proud moment for the Buffalo Philharmonic Orchestra: the release of its “Built For Buffalo” CD. For several years, we’ve presented pieces commissioned by the best modern composers for our talented musicians, continuing the BPO’s tradition of contributing to classical music’s future. In 1946, the BPO made the premiere recording of the Shostakovich Leningrad Symphony. Music director Lukas Foss was also a renowned composer who regularly programmed world premieres of the works of himself and his contemporaries.
    [Show full text]
  • No. 14~ THEY ONLY INCREASE the STATURE of the MAN
    Prepared in the Interests of Book Collecting at the The University of Michigan No. 14~ THEY ONLY INCREASE THE STATURE OF THE MAN. 1Sept 1947 A Little Dinner reminded us that we had more than two hours to for Lincoln wai t before the Lincoln At 12:01 A.M. on July ­ Papers could be opened. 2G, 1947, the Robert Todd He proposed that we Lincoln Collection of pa­ might pass the time plea­ pers relating to his father, santly listening to some of Abraham Lincoln, was our company tell us what opened to the public. they hoped to find in the This was that moment for collection. ,..rh ich many men had Dr Evans called first on wai ted years. The faces of Carl Sandburg. With a those men grouped around gentle smile on his face, the safes which had held and in the Middle West­ the papers were bright ern voice familiar to all with hope or troubled Lincolnians, Mr Sandburg wi th fears and worries or announced that he would stilled to conceal emo­ accompany himself on his lions. Yet were they all ex­ guitar with songs of the pectanL This was the mo­ American past. First, there ment; starring 00'\'''' they was a Revolutionary War would have - or they song by Joseph Warren would not have-s-answers about his hopes for the 10 questions about Lin­ future of our America coln which puzzled them. and then there was a bal­ These Lincoln Papers Reprinted with permission of S. J. Ray and . lad of Lincoln's time- the Kansas City Star had been sealed at the in- about a boy and a girl.
    [Show full text]
  • Generously Supported by Jody & John Arnhold; the Andrew W. Mellon
    Generously supported by Jody & John Arnhold; the Andrew W. Mellon Foundation; and the Joseph W. Polisi Artist as Citizen President’s Fund. The future, today. Generously supported by Jody & John Arnhold; the Andrew W. Mellon Foundation; and the Joseph W. Polisi Artist as Citizen President’s Fund Restart Stages at Lincoln Center presents Juilliard NOW: Preparatory Division Saturday, May 29, 1pm ET Damrosch Park Pre-College Symphony: String Ensemble Adam Glaser, Conductor DOMINICK ARGENTO Valse Triste (1996) (1927–2019) WILLIAM GRANT STILL Mother and Child (1943) (1895–1978) DAVID DIAMOND Rounds (1944) (1915–2005) Pre-College Orchestra: String Ensemble Adam Glaser, Conductor ARNOLD SCHOENBERG Notturno for Strings and Harp (1895) (1874–1951) GABRIELA LENA FRANK Selections from Leyendas: An Andean Walkabout (b. 1972) (2001), arr. string orchestra Tarqueada Himno de Zampoñas Chasqui Coqueteos 1 Pre-College Symphony: String Ensemble Violin Cello Joshua Song (Pre-College ‘23), Katina Pantazopoulos (Pre-College ‘24), Concertmaster Principal Nami Nazar (Pre-College ‘23), Principal Joseph Darcourt (MAP ‘19, Pre-College ‘24) Dexter Doris (Pre-College ‘23) Shaw Edwards (Pre-College ‘24) Ella Eom (Pre-College ‘24) Ari Freed (Pre-College ‘23) Yui Hasagawa (Pre-College ‘23) Michelle Kwon (Pre-College ’24) Bernadette Kim (Pre-College ‘23) Miles Levine (Pre-College ‘24) Julie Kim (Pre-College ‘24) Katelyn Moon (Pre-College ‘23) Double Bass Iris Sung (Pre-College ‘23) Lauren Ugarte (Pre-College ‘21), Principal Nicholas Yoo (Pre-College ‘24) Athena Allen
    [Show full text]
  • Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM
    Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. CENTER FOR THE ARTS AT VIRGINIA TECH presents POWAQQATSI LIFE IN TRANSFORMATION The CANNON GROUP INC. A FRANCIS FORD COPPOLA and GEORGE LUCAS Presentation Music by Directed by PHILIP GLASS GODFREY REGGIO Photography by Edited by GRAHAM BERRY IRIS CAHN/ ALTON WALPOLE LEONIDAS ZOURDOUMIS Performed by PHILIP GLASS and the PHILIP GLASS ENSEMBLE conducted by Michael Riesman with the Blacksburg Children’s Chorale Patrice Yearwood, artistic director PHILIP GLASS ENSEMBLE Philip Glass, Lisa Bielawa, Dan Dryden, Stephen Erb, Jon Gibson, Michael Riesman, Mick Rossi, Andrew Sterman, David Crowell Guest Musicians: Ted Baker, Frank Cassara, Nelson Padgett, Yousif Sheronick The call to prayer in tonight’s performance is given by Dr. Khaled Gad Music Director MICHAEL RIESMAN Sound Design by Kurt Munkacsi Film Executive Producers MENAHEM GOLAN and YORAM GLOBUS Film Produced by MEL LAWRENCE, GODFREY REGGIO and LAWRENCE TAUB Production Management POMEGRANATE ARTS Linda Brumbach, Producer POWAQQATSI runs approximately 102 minutes and will be performed without intermission. SUBJECT TO CHANGE PO-WAQ-QA-TSI (from the Hopi language, powaq sorcerer + qatsi life) n. an entity, a way of life, that consumes the life forces of other beings in order to further its own life. POWAQQATSI is the second part of the Godfrey Reggio/Philip Glass QATSI TRILOGY. With a more global view than KOYAANISQATSI, Reggio and Glass’ first collaboration, POWAQQATSI, examines life on our planet, focusing on the negative transformation of land-based, human- scale societies into technologically driven, urban clones.
    [Show full text]
  • Cornell Alumni Magazine, NY, and Additional Mail C/O Public Affairs Records, 130 East Seneca St., Suite 400, Ithaca, NY 14850-4353
    c1-c4CAMjf11 12/16/10 10:18 AM Page c1 January | February 2011 $6.00 Alumni Corne Magazine Ghost World Photos Bridge Ithaca’s Past and Present cornellalumnimagazine.com c1-c4CAMjf11 12/16/10 10:18 AM Page c2 001-001CAMjf11toc 12/17/10 10:35 AM Page 1 January / February 2011 Volume 113 Number 4 In This Issue Corne Alumni Magazine 4 2 From David Skorton Money matters 4 The Big Picture A big blow-up 6 Correspondence Suicide prevention 9 Letter from Ithaca Shirt off their backs 10 From the Hill Oh, the humanities! 14 Sports Wrestle mania 17 Authors It’s all right 24 Summer Programs and Sports Camps 20 40 Wines of the Finger Lakes Swedish Hill Cynthia Marie Port 54 Classifieds & Cornellians in Business 55 Alma Matters 58 Class Notes 95 Alumni Deaths 48 96 Cornelliana 42 Through a Glass, Darkly Conserving a conservatory? FRANKLIN CRAWFORD Urban renewal was kinder to Ithaca than to some Upstate cities, but over the past cen- Currents tury many stately buildings have still been lost—from Ezra Cornell’s Free Circulating Library to Alonzo Cornell’s mansion to the grand old Strand Theatre. In a series of photos recently exhibited at the History Center of Tompkins County, former visiting professor Mark Iwinski captures the ghostly images of bygone structures superimposed 20 Flour Power over what stands in their place. Often, it isn’t pretty. Milling the old-fashioned way Starry Nights 48 Vegging In Cosmic storyteller BETH SAULNIER Eat Different Promoting a plant-based diet When the Moosewood Restaurant served its first meal thirty-eight years ago this month, the owners were still trying to figure out how to run the steam table (and the entrée Learning Curve was two hours late).
    [Show full text]
  • The Brooklyn Delegation of the New York City Council for Its Vital Toric Visit to New York Gty
    Cbail'lllln Asher B. Edelman Brooklyn Academy of Music Preside at Harvey Lichtenstein Board of Trustees Vice Ck1irmen Neil D. Chrisman Rita Hillman I. Stanley Kriegel Franklin R. Weissberg Mem~ers Francis M. Austin, Jt Jenne K. Britell SPECIA L FUNDIN G FOR T HI S ANNU AL REPORT HAS BEEN Kevin Burke PROVIDED THROUGH THE GENEROUS SU PPORT OF Joanne L. Cossullo Warren B. Coburn MANUFACT U RERS HANOVER C O RPORATION . Beth DeWoody PRINTED B Y HARD ING Be H ARD ING GRAPHICS, INC. Charles M. Diker Brendan Duggan Choim Edelstein Mallory Foetor Ronald E. Feiner Alan H. Fishman Robert L. Forbes Michael Fuchs Faith G. Golding Morton Gottlieb Stephen R. Greenwald Sidney Kantor Stanley H. Kaplan Andrew K. Klink Bettina Bancroft Klink Robert A. Krasnow lngo Kretzschmar Edgar A. Lampert Eugene H. luntey laurie Mollet Martin F. Mertz Evelyn Ortner David L. Ramsay Bruce (. Ratner Richard M. Roson Jonathon F. P. Rose Robert (. Rosenberg Pippa Scott Mikki Shepard Vaughn (. Williams Ho10r1ry Chlirmen David N. Dinkins Officers Howa rd Go Iden Harvey Lichtenstein, IIHonry Tr11tees President and Executive Producer Seth Faison Koren Brooks Hopkins, leonard Garment Executive Vice President & Managing Director Paul lepercq Douglas W. Allan, Arne Vennemo Vice President for Marfceting and Promotion Ex-officii Jacques Brunswick, Mary Schmidt Campbell Vice President for Administration During the post yeo~ public funding of the arts weathered not only Fuchs and the Recording Industry Council chaired by Elelctro Entertoin­ Amidst a year of uncertainty at the National Endowment lor the intense challenges, but ever declining appropriation levels in the menrs Robert Krasnow, the Golo Committee organized a roving, post­ Arts, and a sense of growing unease with the country's economy, face of budget reductions of all levels of government.
    [Show full text]
  • Liicoli Ooliection
    F The Oliver R. Barrett LIICOLI OOLIECTION "Public Auction ^ale FEBRUARY 1 9 AND 20 at 1:45 and 8 p. m. at the Parke-Bernet Galleries- Inc • • 980 MADISON AVENUE ^J\Qw Yovk 1952 LINCOLN ROOM UNIVERSITY OF ILLINOIS LIBRARY MEMORIAL the Class of 1901 founded by HARLAN HOYT HORNER and HENRIETTA CALHOUN HORNER H A/Idly-^ nv/n* I Sale Number 1315 FREE PUBLIC EXHIBITION From Tuesday, February 12, to Date of Sale From 10 a. Tfj. to 5 p. m. y Tuesday 10 to 8 Closed Sunday and Monday PUBLIC AUCTION SALE Tuesday and Wednesday Afternoons and Evenings February 19 and 20, at 1 :45 and 8 p. m. EXHIBITION & SALE AT THE PARKE-BERNET GALLERIES • INC 980 Madison Avenue • 76th-77th Street New York 21 TRAFALGAR 9-8300 Sales Conducted by • • H. H. PARKE L. J. MARION A. N. BADE A. NISBET • W. A. SMYTH • C. RETZ 1952 THE LATE OLIVER R. BARRETT The Immortal AUTOGRAPH LETTERS ' DOCUMENTS MANUSCRIPTS ' PORTRAITS PERSONAL RELICS AND OTHER LINGOLNIANA Collected by the Late OLIVER R. BARRETT CHICAGO Sold by Order of The Executors of His Estate and of Roger W . Barrett i Chicago Public Auction Sale Tuesday and Wednesday February 19 and 20 at 1:45 and 8 p. m. PARKE-BERNET GALLERIES • INC New York • 1952 The Parke -Bernet Galleries Will Execute Your Bids Without Charge If You Are Unable to Attend the Sale in Person Items in this catalogue subject to the twenty per cent Federal Excise Tax are designated by an asterisk (*). Where all the items in a specific category are subject to the twenty per cent Federal Ex- cise Tax, a note to this effect ap- pears below the category heading.
    [Show full text]
  • John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens
    2011 NATIONAL ENDOWMENT FOR THE ARTS 1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens Robert Ward Robert Ward NATIONAL ENDOWMENT FOR THE ARTS 2011 John Conklin’s set design sketch for San Francisco Opera’s production of The Ring Cycle. Image courtesy of John Conklin ii 2011 NEA OPERA HONORS Contents 1 Welcome from the NEA Chairman 2 Greetings from NEA Director of Music and Opera 3 Greetings from OPERA America President/CEO 4 Opera in America by Patrick J. Smith 2011 NEA OPERA HONORS RECIPIENTS 12 John Conklin Scenic and Costume Designer 16 Speight Jenkins General Director 20 Risë Stevens Mezzo-soprano 24 Robert Ward Composer PREVIOUS NEA OPERA HONORS RECIPIENTS 2010 30 Martina Arroyo Soprano 32 David DiChiera General Director 34 Philip Glass Composer 36 Eve Queler Music Director 2009 38 John Adams Composer 40 Frank Corsaro Stage Director/Librettist 42 Marilyn Horne Mezzo-soprano 44 Lotfi Mansouri General Director 46 Julius Rudel Conductor 2008 48 Carlisle Floyd Composer/Librettist 50 Richard Gaddes General Director 52 James Levine Music Director/Conductor 54 Leontyne Price Soprano 56 NEA Support of Opera 59 Acknowledgments 60 Credits 2011 NEA OPERA HONORS iii iv 2011 NEA OPERA HONORS Welcome from the NEA Chairman ot long ago, opera was considered American opera exists thanks in no to reside within an ivory tower, the small part to this year’s honorees, each of mainstay of those with European whom has made the art form accessible to N tastes and a sizable bankroll.
    [Show full text]