DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 67, 1947-1948, Subscription

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 67, 1947-1948, Subscription BOSTON SYMPHONY ORCHESTRA SIXTY-SEVENTH SEASON _ 1947-1948 Boston Symphony Orchestra [Sixty-seventh Season, 1947-1948] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Jerome Lipson Bassoons Richard Burgin, Siegfried Gerhardt Raymond Allard Concert-master Ernst Panenka Alfred Krips Violoncellos Ralph Masters Gaston Elcus Jean Bedetti Rolland Tapley Alfred Zighera Contra-Bassoon Norbert Lauga Jacobus Langendoen Boaz Piller George Mischa Nieland Zazofsky Horns Paul Cherkassky Hippolyte Droeghmans Willem Valkenier Harry Dubbs Karl Zeise James Stagliano Josef Zimbler Vladimir Resnikoff Principals Joseph Leibovici Bernard Parronchi Walter Macdonald Einar Enrico Fabrizio Hansen Harold Meek Daniel Leon Marjollet Eisler Paul Keaney Norman Carol Basses Harry Shapiro Carlos Pinfield William Gebhardt Georges Moleux Paul Federovsky Osbourne McConathy Willis Page Harry Dickson Ludwig Juht Trumpets Minot Beale Irving Frankel Georges Mager Frank Zecchino Henry Greenberg Marcel Lafosse Clarence Knudson Henry Portnoi Roger Voisin Pierre Mayer Gaston Dufresne Rene Voisin Manuel Zung Henri Girard Harry Herforth Samuel Diamond Henry Freeman Victor Trombones Manusevitch John Barwicki James Nagy Jacob Raichman Leon Gorodetzky Flutes Lucien Hansotte John Coffey Raphael Del Sordo Georges Laurent Josef Orosz Melvin Bryant James Pappoutsakis John Murray Phillip Kaplan Tuba Lloyd Stonestreet Vinal Smith Henri Erkelens Piccolo Harps Saverio Messina George Madsen Herman Silberman Bernard Zighera Oboes Elford Caughey Stanley Benson Hubert Sauvlet John Holmes Timpani Jean Devergie Roman Szulc Violas Joseph Lukatsky Max Polster Joseph de Pasquale English Horn Jean Cauhape Percussion Louis Speyer Georges Fourel Simon Sternburg Eugen Lehner Clarinets Charles Smith Emil Arcieri Emil Kornsand Victor Polatschek Albert Bernard Manuel Valerio Piano George Humphrey Pasquale Cardillo Lukas Foss Louis Artieres Charles Van Wynbergen Bass Clarinet Librarian Hans Werner Rosario Mazzeo Leslie Rogers 5»o SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-SEVENTH SEASON, i947~ 1 948 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 194/, BY BOSTON SYMPHONY ORCHESTRA, Inc. The TRUSTEES or> the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Henry B. Sawyer . Vice-President Richard C. Paine . Treasurer Philip R. Allen Francis W. Hatch John Nicholas Brown M. A. De Wolfe Howe Alvan T. Fuller Jacob J. Kaplan Jerome D. Greene Roger I. Lee N. Penrose Hallowell Raymond S. Wilkins Oliver Wolcott George E. Judd, Manager [1] Only you can decide Whether your property is large or small, it rep- resents the security for your family' s future. Its ulti- mate disposition is a matter of vital concern to those you love. To assist you in considering that future, the Shaw- mut Bank has a booklet: "Should I Make a Will?" It outlines facts that everyone with property should know, and explains the many services provided by this Bank as Executor and Trustee. Call at any of our 2 J convenient offices, write or telephone for our booklet: "Should I Make a Will?" The V^tional Shawmut Bank 40 Water Street^ Boston Member Federal Deposit Insurance Corporation Capital $10,000,000 Surplus $20,000,000 "Outstanding Strength" for 111 Tears §^@@@@@©©@@@@@@@^$^^«HS [2] y^<r%*$<rz+(r**^^<r%<#<r2<r*& SYMPHON1ANA Koussevitzky's Dream European Posters Unused Tickets KOUSSEVITZKY'S DREAM Reprinted from the "New Republic," September 1, 1947 The Berkshire Festival, which re- cently completed its tenth season, has become one of America's healthiest musical institutions. One record-break- ing Saturday night, more than 14,000 people, from Lenox aristocrats in Berg- dorf Goodman frocks and white suits to girls in dungarees and men in T-shirts, came to Tanglewood to hear Serge Koussevitzky conduct the Boston Symphony Orchestra in an all-Bee- thoven program. From 9,000 to 13,000, depending on the weather, attended the S^trikina a Vfew other nine Boston Symphony concerts. Any night you could easily spot licenses from a dozen states near your own car ^J^riah V (ote in the huge parking lot. When Kossevitzky started the Berk- shire Festival 10 years ago, we were The vamp rising towards told that he dreamed of making it an the lower hemline . American Salzburg. The tone of chi- chi implied by that description no longer the new wrap-around de- colors anyone's thoughts. Tanglewood has grown spontaneously into a center tail . the so comfort- so thoroughly American that any men- able open toe . the tion of its Americanism seems beside the point. The people have taken it much favored sling heel over, particularly the thousands who ... all in dove-soft suede stretch out comfortably on the lawn behind the 6,000 who have paid extra plus your choice of black, to sit on hard little camp chairs inside the music shed. The Tanglewood au- brown, wine or green. dience makes itself as much at home 17.95. as a summer-evening crowd in Central Park. Yet everyone comes to listen, and everyone respects the music. There have been three phases in Koussevitzky's master plan for Tangle- wood. First, he established summer con- certs by his orchestra, both to extend • Boston the best music into the vaction area ~ • Wellesley and to provide additional work for his players. In the first two seasons the ^5 Z*Wto%J) (T*v$*kJ)+<Z^®r%J) C^ [3] concerts were given in relatively sim- ple surroundings near Stockbridge. The second phase of the plan was realized when the festival acquired a permanent home by being given the present beautiful grounds near Lenox, Massachusetts, overlooking the Stock- bridge Bowl and the Taconic moun- tains beyond. Money was raised to con- struct three buildings from designs by Eliel Saarinen — the big music shed, shaped like a wedge of pie, and smaller halls for stage productions and cham- ber music. The aspect of the plan closest to Koussevitzky's heart, however, was the formation, just before the war, of the Berkshire Music Center. With this school, which he directs with the as- sistance of Aaron Copland and Leon- ard Bernstein, Koussevitzky is en- deavoring to strike a new level of summer musical education, with inten- sive and expert training in performance, theory and composition. With discern- ment and artistic integrity, he has brought together a faculty of high-rank- ing composers and practical musicians who also know how to teach. As if to prove that his seventy-third birthday was of no consequence, Kous- sevitzky conducted the four concerts I heard with a vigor and inspirational quality unusual even for him. Berlioz' "Harold in Italy" symphony gained greater structural cohesiveness than he had given it before, without sacrificing any of its flamboyant orchestral theat- ricalism. In the course of a complete cycle of the Beethoven symphonies he Corduroy gave the fourth symphony a symmetry a king's choice, tailored to a queen's taste in our wonderful breakfast-to-dinner house and an eloquence that were close to coat. perfection. The ninth symphony, with Red . Toast . the choral finale for once raised to its Blue . Chartreuse $25 full magnificence by Robert Shaw's re- markable student chorus, had taken on a new and less mannered character in Koussevitzky's mind, and the music gave The Trousseau House of Boston that wonderful and rare sense of com- 416 BDYLSTDN STREET ing to life for the first time. No less WELLES LEY ~ HYANNIS ~ PALM. BEACH remarkable in its way was Leonard [4] Bernstein's conducting of Stravinsky's '""s/% "Le Sacre du Printemps," so urgent in rhythmic power and so clear in articula- tion that it may be a long time before we hear the work played this well again. The daily student programs covered an immense range of music, new and old, and though supported by much smaller audiences, were in their way as valuable as the Boston Symphony concerts. A unique project was the first American production of Mozart's opera "Idomeneo." The vagaries of a complicated plot and the lack of printed parts of the music have kept this touch- ing and supremely melodious score out of the ordinary operatic repertory. Boris Goldovsky, head of the opera de- partment at the Berkshire Music Cen- ter, painstakingly and intelligently pre- pared the performing version that was if used at Tanglewood. *-"" EUROPEAN POSTERS The first exhibition of the season, now on view in the First Balcony Gal- *» / lery, is lent the by Boston Museum of Jk Fine Arts. It is a collection of European ^ ;ll \ posters of the late nineteenth century, 4 forerunners of an art which has since 0* developed. The following artists are V represented: Cheret, Manet, Toulouse- Lautrec, Bonnard, Vallotton, Walter Crane, Millais, ,o I Beardsley, Brangwyn, and others. UNUSED TICKETS Season ticket holders who at any time are unable to attend a particular con- H cert will confer a double favor by leav- ing their tickets at the Box Office, or t telephoning the location. They will so ep enable a visitor to Boston or a non- subscriber to hear the Orchestra in a 1 solidly subscribed season. These tickets 3*0 will be resold for the benefit of the Orchestra. fKeeT [5] Safe . but are they Sound? Sound investment management tain the services of an experienced today is more than a full-time job team^ constantly working for your for one person. investment guidance. To make sure the securities you A request for our booklet, own are those of well-managed "Investment Management," will enterprises in forward-looking bring you information on our in- fields calls for teamwork by many vestment services. persons thoroughly experienced in research and analysis. No individual investor could hope to find the time to visit in WORTHY OF YOUR TRUST person the managements of com- panies scattered throughout the Old Colony United States .
Load more

Recommended publications
  • Marquetry on Drawer-Model Marionette Duo-Art
    Marquetry on Drawer-Model Marionette Duo-Art This piano began life as a brown Recordo. The sound board was re-engineered, as the original ribs tapered so soon that the bass bridges pushed through. The strings were the wrong weight, and were re-scaled using computer technology. Six more wound-strings were added, and the weights of the steel strings were changed. A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it. The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box. A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano. The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5 Teresa Carreno (1853-1917) ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens VOLUME 42, Number
    [Show full text]
  • THE BALDWIN PIANO COMPANY * Singing Boys of Norway Springfield (Mo.) Civic Symphony Orchestra St
    Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org Each artist has his own reason for choosing Baldwin as the piano which most nearly approaches the ever-elusive goal of perfection. As new names appear on the musical horizon, an ever-increasing number of them are joining their distinguished colleagues in their use of the Baldwin. Kurt Adler Cloe Elmo Robert Lawrence Joseph Rosenstock Albuquerque Civic Symphony Orchestra Victor Alessandro Daniel Ericourt Theodore Lettvin Aaron Rosand Atlanta Symphony Orchestra Ernest Ansermet Arthur Fiedler Ray Lev Manuel Rosenthal Baton Rouge Symphony Orchestra Claudio Arrau Kirsten Flagstad Rosina Lhevinne Jesus Maria Sanroma Beaumont Symphony Orchestra Wilhelm Bachaus Lukas Foss Arthur Bennett Lipkin Maxim Schapiro Berkshire Music Center and Festival Vladimir Bakaleinikoff Pierre Fournier Joan Lloyd George Schick Birmingham Civic Symphony Stefan Bardas Zino Francescatti Luboshutz and Nemenoff Hans Schwieger Boston "Pops" Orchestra Joseph Battista Samson Francois Ruby Mercer Rafael Sebastia Boston Symphony Orchestra Sir Thomas Beecham Walter Gieseking Oian Marsh Leonard Seeber Brevard Music Foundation Patricia Benkman Boris Goldovsky Nino Martini Harry Shub Burbank Symphony Orchestra Erna Berger Robert Goldsand Edwin McArthur Leo Sirota Central Florida Symphony Orchestra Mervin Berger Eugene Goossens Josefina Megret Leonard Shure Chicago Symphony Orchestra Ralph Berkowitz William Haaker Darius Milhaud David Smith Pierre Bernac Cincinnati May Festival Theodor Haig
    [Show full text]
  • J®1]Jill~Filili ®If1f
    SUMMER1965 VOL. VII, NO. 2 J®1]Jill~filili®IF1f [I[; fil~[;illil©ID~ID~~®©ilfil TI1il®I~J ®IF1f [I[;fil 1fill[; ®ill@ID~ [;~1f [I1]J~ilfil~TI1~ New Baldwin organ tnakes you glad you're old enough to retnember Remember flapper girls, raccoon coats, flag, Play a bass drum or rhythm brushes. pole sitters, the Charleston and silent flicks? Ring the doorbell. Laugh at the auto horn. Sing,alongs to a bouncing ball and the mighty Happy days are here again in this exciting theatre organ? They made the 1920's roar. new Baldwin Theatre Organ. See it at your Now Baldwin has captured the romance Baldwin dealer's today, or mail the coupon of those razzle,dazzle years in a great new below for colorful free brochure. theatre organ for the home. fl:-----------------------------------® Baldwin Piano & Organ Company ~ Remarkably authentic from horseshoe 1801 Gilbert Ave., Dept. T.O.M. 7-65 Cincinnati, Ohio 45202 console to special effects, it has true theatre Please send free brochure on the new Baldwin Theatre organ sound. And the brilliant tone of a Organ. Name _ ______________ _ true Baldwin. Sit down and play yourself some mem, Address _______________ _ ories. Thrill to the shimmering tibias, the City ________ State ____ Zip __ _ romantic kinura, and other theatrical voices In Canada, write: Baldwin Piano Company (Canada) Ltd. ~ 86 Rivalda Road, Weston, Ontario -all sparkling, bright and clear. ~------------------------------------111 BALDWIN AND ORGA-SONIC ORGANS • BALDWIN, ACROSONIC, HAMIL TON AND HOW ARD PIANOS editor of "Theatre Organ". W. "Stu" SUMMER 1965 VOL.
    [Show full text]
  • The House of Coburg and Queen Victoria: a Study of Duty and Affection
    University of Nebraska at Omaha DigitalCommons@UNO Student Work 6-1-1971 The House of Coburg and Queen Victoria: A study of duty and affection Terrence Shellard University of Nebraska at Omaha Follow this and additional works at: https://digitalcommons.unomaha.edu/studentwork Recommended Citation Shellard, Terrence, "The House of Coburg and Queen Victoria: A study of duty and affection" (1971). Student Work. 413. https://digitalcommons.unomaha.edu/studentwork/413 This Thesis is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Student Work by an authorized administrator of DigitalCommons@UNO. For more information, please contact [email protected]. THE HOUSE OF COBURG AND QUEEN VICTORIA A STORY OF DUTY AND AFFECTION A Thesis Presented to the Department of History and the Faculty of the Graduate College University of Nebraska at Omaha In Partial Fulfillment of the Requirements for the Degree Master of Arts by Terrance She Ha r d June Ip71 UMI Number: EP73051 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Diss««4afor. R_bJ .stung UMI EP73051 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC.
    [Show full text]
  • Death the Prince Imperial
    Death of The Prince ImperiaL (Taken from The Illustrated London News, June 28, 1879) Napoleon Eugène Louis Jean Joseph Bonaparte 14 March 1856 - 1 June 1879 The unhappy and inglorious warfare in South Africa, begun last January without the authority of her Majesty’s Government, has already cost of the lives of many young Englishmen, officers of the ill-fated 24th and other regiments, whose portraits have been given in the Journal with such brief notices as were acceptable to the feelings of their bereaved parents and private friends. It has been our willing task in each of these mournful instances, with the permission, or more frequently at the express request, of the afflicted relatives, to minister such poor consolation as might be afforded by the publicity this bestowed upon the memory of a lost son or brother; and we have not, as is the ordinary practice in time of war, restricted it to the cases of distinguished men in the higher military commands. The same kind and degree of public condolence must now be accorded by us to the French Imperial family, and especially to the widowed Empress residing at Chiselhurst, upon the sad fate of a youthful Prince, who had been educated with English comrades of his own age at the Royal Military Academy at Woolwich, and who was personally known to the members of our own Royal Family, as well as to many other people of rank and station in this country. It was on Friday, yesterday week [June 20th 1879], that the news which had arrived on the night before, and which had been communicated by the Secretary of State for War to the House of Commons at a late hour, spread through the whole kingdom and all over Europe.
    [Show full text]
  • Howe Collection of Musical Instrument Literature ARS.0167
    http://oac.cdlib.org/findaid/ark:/13030/c8cc1668 No online items Guide to the Howe Collection of Musical Instrument Literature ARS.0167 Jonathan Manton; Gurudarshan Khalsa Archive of Recorded Sound 2018 [email protected] URL: http://library.stanford.edu/ars Guide to the Howe Collection of ARS.0167 1 Musical Instrument Literature ARS.0167 Language of Material: Multiple languages Contributing Institution: Archive of Recorded Sound Title: Howe Collection of Musical Instrument Literature Identifier/Call Number: ARS.0167 Physical Description: 438 box(es)352 linear feet Date (inclusive): 1838-2002 Abstract: The Howe Collection of Musical Instrument Literature documents the development of the music industry, mainly in the United States. The largest known collection of its kind, it contains material about the manufacture of pianos, organs, and mechanical musical instruments. The materials include catalogs, books, magazines, correspondence, photographs, broadsides, advertisements, and price lists. The collection was created, and originally donated to the University of Maryland, by Richard J. Howe. It was transferred to the Stanford Archive of Recorded Sound in 2015 to support the Player Piano Project. Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, California 94305-3076”. Language of Material: The collection is primarily in English. There are additionally some materials in German, French, Italian, and Dutch. Arrangement The collection is divided into the following six separate series: Series 1: Piano literature. Series 2: Organ literature. Series 3: Mechanical musical instruments literature. Series 4: Jukebox literature. Series 5: Phonographic literature. Series 6: General music literature. Scope and Contents The Howe Musical Instrument Literature Collection consists of over 352 linear feet of publications and documents comprising more than 14,000 items.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 75, 1955-1956, Trip
    BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HI 1955 1956 SEASON Veterans Memorial Auditorium, Providence Boston Symphony Orchestra (Seventy-fifth Season, 1955-1956) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster George Zazofsky Albert Bernard Contra-Bassoon Rolland Tapley George Humphrey Richard Plaster Norbert Lauga Jerome Lipson Robert Karol Vladimir Resnikoff Horns Harry Dickson Reuben Green James Stagliano Gottfried AVilfinger Bernard Kadinoff Charles Yancich Einar Hansen Vincent Mauricci Harry Shapiro Joseph Leibovici John Fiasca Harold Meek Emil Kornsand Violoncellos Paul Keaney Roger Shermont Osbourne McConathy Samuel Mayes Minot Beale Alfred Zighera Herman Silberman Trumpets Jacobus Langendoen Roger Voisin Stanley Benson Mischa Nieland Leo Panasevich Marcel Lafosse Karl Zeise Armando Ghitalla Sheldon Rotenberg Josef Zimbler Gerard Goguen Fredy Ostrovsky Bernard Parronchi Clarence Knudson Leon MarjoUet Trombones Pierre Mayer Martin Hoherman William Gibson Manuel Zung Louis Berger William Moyer Kauko Kabila Samuel Diamond Richard Kapuscinski Josef Orosz Victor Manusevitch Robert Ripley James Nagy Flutes Tuba Melvin Bryant Doriot Anthony Dwyer K. Vinal Smith Lloyd Stonestreet James Pappoutsakis Saverio Messina Phillip Kaplan Harps William Waterhouse Bernard Zighera Piccolo William Marshall Olivia Luetcke Leonard Moss George Madsen Jesse
    [Show full text]
  • CAMDEN STREET NAMES and Their Origins
    CAMDEN STREET NAMES and their origins © David A. Hayes and Camden History Society, 2020 Introduction Listed alphabetically are In 1853, in London as a whole, there were o all present-day street names in, or partly 25 Albert Streets, 25 Victoria, 37 King, 27 Queen, within, the London Borough of Camden 22 Princes, 17 Duke, 34 York and 23 Gloucester (created in 1965); Streets; not to mention the countless similarly named Places, Roads, Squares, Terraces, Lanes, o abolished names of streets, terraces, Walks, Courts, Alleys, Mews, Yards, Rents, Rows, alleyways, courts, yards and mews, which Gardens and Buildings. have existed since c.1800 in the former boroughs of Hampstead, Holborn and St Encouraged by the General Post Office, a street Pancras (formed in 1900) or the civil renaming scheme was started in 1857 by the parishes they replaced; newly-formed Metropolitan Board of Works o some named footpaths. (MBW), and administered by its ‘Street Nomenclature Office’. The project was continued Under each heading, extant street names are after 1889 under its successor body, the London itemised first, in bold face. These are followed, in County Council (LCC), with a final spate of name normal type, by names superseded through changes in 1936-39. renaming, and those of wholly vanished streets. Key to symbols used: The naming of streets → renamed as …, with the new name ← renamed from …, with the old Early street names would be chosen by the name and year of renaming if known developer or builder, or the owner of the land. Since the mid-19th century, names have required Many roads were initially lined by individually local-authority approval, initially from parish named Terraces, Rows or Places, with houses Vestries, and then from the Metropolitan Board of numbered within them.
    [Show full text]
  • 8.Mod Eng.Geoiv.11.27.18X.Key
    Victorian England Week Eight Monday Nov 28, 2018 Institute for the Study of Western Civilization King George IV George Prince of Wales Aug 12, 1762 (St James Palace) June 26, 1830 (Windsor) Buried, St Georges Chapel Windsor King George IV, 1762-1830 1762 born first son to K Geo III & Queen Charlotte (15 children) 1783 age 21 gets own home: Carleton House (spends a fortune on it) 1783 meets and falls in love with widow Mrs. Maria Fitzherbert (RC) 1795 debts drowning him, K. Geo III offers money if he marries. 1795 Geo marries Princess Caroline of Brunswick dislikes her on sight. (said she smelled bad, Geo VERY fastidious, Caroline sloppy) 1796 Jan 7 birth of Princess Charlotte (d. 1817) 9 months aft wedding 1800 return of Mrs. Fitzherbert in life of the Prince of wales 1800 Napoleon triumphant takeover of French gov. "First Counsel" 1805 Battle of Trafalgar Adm Horatio Nelson killed at battle. 1810 War in Spain (Wellington) 1810-1811 final insanity of Geo III, Regents Bill in Parliament, 1814 defeat and abdication of Napoleon 1816 marriage of Princess Charlotte to Leopold of Saxe-Coburg 1817 death of Princess Charlotte and her baby. 1815-1820 exile abroad of Princess of Wales Caroline. 1820 death of Geo III, Caroline returns to Eng. War betw K & Q of Eng 1821 July coronation of K. Geo IV, Aug death of Queen Caroline. 1820-1830 reign of King George IV, death of K Geo IV 1830. There were many who did not mourn his passing. "The London Times opined, perhaps rather harshly, that "there never was an individual less regretted by his fellow low-creatures than this deceased King." Prince George’s personality and his interaction with siblings.
    [Show full text]
  • 029I-HMVSX1925X01-0000A0.Pdf
    RETAIL PRICES OF His Master's Voice Double-SidedRECORDS THE ROYAL RECORD (R.E.284) THEIR MAJESTIES THE KING & QUEEN. 10 in. Double-sided, 5/6. THE ROYAL RECORD (R.D. 887) H.R.H. THE PRINCE OF. WALES. 12 in. Double-sided 516. ORANGE Label, Double-sided, 7-inch (Nursery Records) 1/6 ... Per Set Six Records in Pictorial Album 12/6 of ... ... ... Colour of Label 10-inch 12-inch 4/6 PLUM (Plm) ... ... ... ... ... 3/- BLACK (Blk) 4/6 6/6 ... ... ... ... ... RED (Red) 6/- 8/6 ... ... .. ... ... BUFF (B'ff) 7/- 10/- ... ... ... ... ... PALE GREEN (P.G.) 11/6 ... ... ... ... - PALE BLUE (P.B.) 13/6 ... ... ... ... - (Wte) 16/- WHITE (Sextet) ... ... ... ... - For Prices of Single-Sided Celebrity Records see General Catalogue. Unless "His Voice" Records otherwise stated .1lasters should be played at a speed of 78. His Master's l'oice'' Instantaneous Sbeed Tester. shows instantly whether your motor is running correctly. "His Master's Voice" Records The SCHUMANN PIANO CONCERTO ALFRED CORTOT (Pianoforte) AND THE ROYAL ALBERT HALL ORCHESTRA (conducted by Sir LANDON RONALD) 12 inch double-sided Red babel. Concerto in A Minor, Op. 54 ... ... ... ...Schum n (First Movement-Allegro D B 722 affettuoso (First Movement-Andante expressivo-Allegro D.B. 723 First Movement-Allegro, Parts 1 and 2 Second Movement-Intermezzo-Andantino D B 724 grazioso Third Movement-Allegro vivace, Part 1 D.B.725 Third Movement-Allegro vivace, Parts 2 and 3 T HE work here recorded is the only complete Piano Concerto that Schumann wrote. Dr. Spitta writes of it (in Grove's " Dictionary of Music and Musicians ") as follows : " It is one of his most beautiful and mature works.
    [Show full text]
  • Bradbury Piano M. Schulz Co. M. Schulz Co. Steger
    10 PRESTO June 9, 1923 SPLENDID SHOWING OF ESTABLISHED 1854 PACKARD PIANO COMPANY THE Great Line at Drake Showed Striking Examples of Product of Harmonious Factory. The Packard Piano Co., Fort Wayne, Ind., was BRADBURY PIANO fortunate in its very convenient exhibit location at the Drake Hotel this week. It was close to the ele- FOR ITS vators., and, as Bert Hulme, Packard traveler, said, ARTISTIC EXCELLENCE "right in the line of main dealer travel on the second floor." It was a big room and was always filled with FOR ITS interested groups about the handsome styles shown. Four grands from the Fort Wayne industry showed INESTIMABLE AGENCY VALUE ARTISTIC the ambitious character of the Packard line. Among the force from the Packard Piano Co. pres- THE CHOICE OF II ent at the exhibit was A. S. Bond, president of the Representative Dealers the World Over company, proud of its results of a harmonious indus- IN EVERT try. Others present were A. A. Mahan, sales man- Now Produced in Several ager; Richard S. Hill, eastern sales manager; John J. DETAIL Buttell, midwest representative; H. B. Harris, trav- New Models a eler in Ohio, Indiana and Michigan, and H. M. II Hulme, northwestern wholesale representative. WRITE FOR TERRITORY II •i Factory Executive Offices !• SEEBURG EXHIBIT PROVIDES Leominster, 138th St. and Walton Aye. II HADDORFF PIANO CQ Mass. New York •i WONDER AT DRAKE HOTEL Division W. P. HAINES & CO., Inc. II ROCKFORIMLL. Powerful Tone and Handsome Appearance of Or- •I Wholesale Offices: N»w Tork City Chtatfo S«n Franciaco chestrions Suggest Advantages of Line to Dealers.
    [Show full text]
  • The AMICA BULLETIN
    The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION NOVEMBER/DECEMBER 2001 VOLUME 38, NUMBER 6 11 Y()UR SIAJON T1CKJ;T 1 M ()JT R I; MAR KA 11 I; c: () N c: I; F-..T J (; F-..I I; J I N "IJT()RY OJ MlISH: / / You have heard great piano performances ... Jacobs Dond, Milton Delcamp-the swift and In a crowded concert hall, some world-famed rhythmic music of Broadway, played by such genius playing to llU::lhed hundreds. Waking the masters ofsyncopationas Lopez,Confrey,Carroll. most glorious of all instruments to glorious life. The Ampico is an integral part of the piano. Releasing, with incredible fingers, the floods of It reproduces through the piano itself-bring­ melody you have longed to hear-waited pa­ ing you the actual voice of the instrument in tiently to hear-traveled far, perhaps, to hear. its full beauty-permitting you to study closely Once there was no othcr way to hear great the method and tona of famous pianists-in­ piano music. Bllt now, in the quictof your own spiring you and your children in your own home, you can hear, any evening, concerts more playing.The Ampico does notinanyway change wonderful still. To your own waiting piano the the appearance, tone or action of the piano. Ampico will bring the playing, not of one artist alone, but of practically all the famous artists You cannot fully believe in this miracle of of the world. You merely touch an electric the Ampico until you hear it! Co, at your first button-then reIa..,;: in your chair to listen.
    [Show full text]