Volume 34, Number 07 (July 1916) James Francis Cooke
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ألبوù… (الألبوù…ات & الجØ
Lee Konitz ألبوم قائمة (الألبوم ات & الجدول الزمني) Jazz Nocturne https://ar.listvote.com/lists/music/albums/jazz-nocturne-30595290/songs Live at the Half Note https://ar.listvote.com/lists/music/albums/live-at-the-half-note-25096883/songs Lee Konitz with Warne Marsh https://ar.listvote.com/lists/music/albums/lee-konitz-with-warne-marsh-20813610/songs Lee Konitz Meets Jimmy Giuffre https://ar.listvote.com/lists/music/albums/lee-konitz-meets-jimmy-giuffre-3228897/songs Organic-Lee https://ar.listvote.com/lists/music/albums/organic-lee-30642878/songs https://ar.listvote.com/lists/music/albums/lee-konitz-meets-warne-marsh-again- Lee Konitz Meets Warne Marsh Again 28405627/songs Subconscious-Lee https://ar.listvote.com/lists/music/albums/subconscious-lee-7630954/songs https://ar.listvote.com/lists/music/albums/an-image%3A-lee-konitz-with-strings- An Image: Lee Konitz with Strings 24966652/songs Lee Konitz Plays with the Gerry https://ar.listvote.com/lists/music/albums/lee-konitz-plays-with-the-gerry-mulligan- Mulligan Quartet quartet-24078058/songs Anti-Heroes https://ar.listvote.com/lists/music/albums/anti-heroes-28452844/songs Alto Summit https://ar.listvote.com/lists/music/albums/alto-summit-28126595/songs Pyramid https://ar.listvote.com/lists/music/albums/pyramid-28452798/songs Live at Birdland https://ar.listvote.com/lists/music/albums/live-at-birdland-19978246/songs Oleo https://ar.listvote.com/lists/music/albums/oleo-28452776/songs Very Cool https://ar.listvote.com/lists/music/albums/very-cool-25096889/songs -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
May -June 1968 T E
MAY -JUNE 1968 T E Official Publication of the AMERICAN CHORAL DIRECTORS ASSOCIATION FIRST ROW SECOND ROW Sally Ross, Harriet Steinbaum, Melinda Cummings, Mrs. Mildred Andrews; accompanist; Dr. F. Wil Karen Balkin, Kathryn Miller, Ellen Zucker, Patricia lard Robinson, Principal of Beverly Hills High Cummings, Joanne Hall, lynne Levinson, Carole School; Terry Wolff, Ronald Burger, Geoff Shlaes, White, Melissa Moss, and Janet Harris. Mrs. Rena Brian Bingham, David Loew; Joel Pressman, Henry Hubbard, Assistant Director, and Robert Holmes, Kahn, Barry Pyne, Dwight Holmes, Michael Kan Director, are in front holding the banner. tor, and Neal Spiegel. vent with numerical superiority and fi ic, festival, or meeting by which more d)1UUH tIt,e ------1 nancial strength to speak as the choral choral directors will become aware of voice of this country an'd still maintain the aims, purposes and value of ACDA. our 'dues at the present level of $6.00 a This issue carries the first Dues No Executive Secretary's year the need to double our membership tice for the 1968-69 fiscal year. Although this coming year was expressed by Pres July 1 is the first day of that year, many '--------:Jluk ident Decker and the National, Divisional of you win be away on vacation or at While it. fs impossible to report in de and ,State officers. A renewed plea was summer school and it is the hope of the tail on all meetings of the National issued that each ACDA member make it executive committee that you will help Board, the Executive Committee, the Di his personal obligation to bring in one both the organization and yourself by vision and state Chairmen and open new member this fall to swell the ranks paying your dues now before the end of sessions, several important plans and of ACDA to help us through this coming the current school year. -
Andréas Hallén's Letters to Hans
”Klappern und wieder klappern! Die Leute glauben nur was gedruckt steht.” ”Klappern und wieder klappern! Die Leute glauben nur was gedruckt steht.”1 Andréas Hallén’s Letters to Hans Herrig. A Contribution to the Swedish-German Cultural Contacts in the Late Nineteenth Century Martin Knust It is beyond question that the composer Andréas Hallén (1846–1925) never stood in the front line of Swedish musical life. Nevertheless, the ways he composed and promoted his music have to be regarded as very advanced for his time. As this study reveals, Hallén’s work as a composer and music critic may have served as a model for the next generation of composers in Sweden. Moreover, his skills as an orchestra- tor as well as his cleverness in building up networks on the Continent can hardly be overestimated. Hallén turns out to have been quite a modern composer in that he took over the latest music technologies and adapted them to a certain music market. The study of Hallén and his work exposes certain musical and cultural developments that were characteristic for Sweden at the turn of the century. Documents that just recently became accessible to research indicate that it is time to re-evaluate Hallén’s role in Swedish musical life. Correspondence between opera composers and their librettists provides us with a wealth of details about the genesis of these interdisciplinary art works and sometimes even, like the correspondence Strauss–Hofmannsthal, about the essence of opera itself. In the case of the Swedish composer Andréas2 Hallén, his first opera Harald der Wiking was not only an interdisciplinary but also an international project because he worked together with the German dramatist Hans Herrig (1845–1892). -
Band Director's Catalog
BAND DIRECTor’s CATALOG We make legends. A division of Steinway Musical Instruments, Inc. P.O. Box 310, Elkhart, IN 46515 www.conn-selmer.com AV4230 1 TABLE OF CONTENTS Eb Soprano, Harmony & Eb Alto Clarinets ....... 10 Bb Bass, EEb Bass & BBb Bass Clarinets ........... 11 308 Student Instruments Step-Up & Pro Saxophones .............................. 12-13 Step-Up & Pro Bb Trumpets .............................. 14 Piccolos & Flutes ...................................................... 1 Step-Up & Pro Cornets ..................................... 14 Oboes & Clarinets .................................................... 2 C Trumpets, Harmony Trumpets, Flugelhorns .... 15 Saxophones .............................................................. 3 Step-Up & Pro Trombones ................................ 16-17 204 Trumpets & Cornets .................................................. 4 Alto, Valve & Bass Trombones .......................... 18 Trombones ............................................................... 5 Double Horns .................................................. 19 PICCOLOS Single Horns ............................................................ 5 Baritones & Euphoniums .................................. 20 Educational Drum, Bell and Combo Kits .................. 6 BBb Tubas - Three Valve .................................... 21 ARMSTRONG Mallet Instruments .................................................... 6 BBb & CC Tubas - Four Valve ............................ 21 204 “USA” – Silver-plated headjoint and body, silver-plated -
Památník Zpěvačky Marty Procházkové, Manželky Ludevíta Procházky 3 a R T I C U L I
1 »Má milá, přemilá – já jsem tulácký pták, který si nedá jakživ předpisovat notu své písničky – tíhnu jen, sama nevím kam – nejspíše tam kde není pro mne zimy... Ale A cosi přece jen má na mne vliv: tiše neodbytně mne po- R nouká, navádí a napomíná: ›Melodii milá holka – jen ať T to má melodii…‹« JANA VOJTĚŠKOVÁ 1 Gabriela Preissová: Z povídky Rozmaryja (Praha) I C méno zpěvačky Marty Procházkové, rozené Reisingero- U vé (1849-1903), upadlo po smrti jejího manžela Dr. Lu- devíta Procházky v roce 1888 téměř v zapomenutí. In- Památník zpěvačky Marty L Jtenzívní deset let trvající kariéra na prknech převážně I německých operních scén nestačila k tomu, aby se Mar- Procházkové, manželky ta Procházková trvale zapsala do dějin pěveckého umění. Ludevíta Procházky Dnes není její jméno uvedeno ani v několikasvazkovém slovníku zpěváků Großes Sängerlexikon2 ani v Hudebním divadle v českých zemích (Osobnosti 19. století).3 Motto, které je předesláno tomuto článku, vepsala ja- ko poslední zápis do památníku Marty Procházkové Ga- briela Preissová. A jistě se ptáte, co měly tyto dvě ženy The Album of Marta Procházková, the společného. Nevíme, zda spisovatelka Gabriela Preissová znala pěvkyni Martu Procházkovou za jejího života, spíše wife of Ludevít Procházka nikoli. Jistě jí ale o ní vyprávěla její snacha Milka Preis- The article is dedicated to singer Martha Procházková, sová, rozená Procházková, neteř Marty a Ludevíta Pro- born Reisinger (1849-1903), the wife of Ludevít Procház- cházkových. V roce 1932 – dvacet jedna let po smrti zpě- ka (1837-1888); her name is not mentioned in today’s vačky – jí Milka pravděpodobně ukázala památník Marty dictionaries of the 19th-century opera singers. -
From Page to Stage: Wagner As Regisseur
Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production. -
Carl Loewe's "Gregor Auf Dem Stein": a Precursor to Late German Romanticism
Carl Loewe's "Gregor auf dem Stein": A Precursor to Late German Romanticism Item Type text; Electronic Dissertation Authors Witkowski, Brian Charles Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 03:11:55 Link to Item http://hdl.handle.net/10150/217070 CARL LOEWE'S “GREGOR AUF DEM STEIN”: A PRECURSOR TO LATE GERMAN ROMANTICISM by Brian Charles Witkowski _____________________ Copyright © Brian Charles Witkowski 2011 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Brian Charles Witkowski entitled Carl Loewe's “Gregor auf dem Stein”: A Precursor to Late German Romanticism and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts ________________________________________________ Date: 11/14/11 Charles Roe ________________________________________________ Date: 11/14/11 Faye Robinson ________________________________________________ Date: 11/14/11 Kristin Dauphinais Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
Boston Symphony Orchestra Concert Programs, Season 31
CONVENTION HALL . ROCHESTER Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor Programme WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 29 AT 8.15 COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER : : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds. -
Fusing the Voices: the Appropriation and Distillation of the Waste Land
Fusing the voices: the appropriation and distillation of The waste land Martin John Fletcher Submetido em 19 de julho de 2015. Aceito para publicação em 23 de outubro de 2015. Cadernos do IL, Porto Alegre, n.º 51, dezembro de 2015. p. 51-66 ______________________________________________________________________ POLÍTICA DE DIREITO AUTORAL Autores que publicam nesta revista concordam com os seguintes termos: (a) Os autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Creative Commons Attribution License, permitindo o compartilhamento do trabalho com reconhecimento da autoria do trabalho e publicação inicial nesta revista. (b) Os autores têm autorização para assumir contratos adicionais separadamente, para distribuição não exclusiva da versão do trabalho publicada nesta revista (ex.: publicar em repositório institucional ou como capítulo de livro), com reconhecimento de autoria e publicação inicial nesta revista. (c) Os autores têm permissão e são estimulados a publicar e distribuir seu trabalho online (ex.: em repositórios institucionais ou na sua página pessoal) a qualquer ponto antes ou durante o processo editorial, já que isso pode gerar alterações produtivas, bem como aumentar o impacto e a citação do trabalho publicado. (d) Os autores estão conscientes de que a revista não se responsabiliza pela solicitação ou pelo pagamento de direitos autorais referentes às imagens incorporadas ao artigo. A obtenção de autorização para a publicação de imagens, de autoria do próprio autor do artigo ou de terceiros, é de responsabilidade do autor. Por esta razão, para todos os artigos que contenham imagens, o autor deve ter uma autorização do uso da imagem, sem qualquer ônus financeiro para os Cadernos do IL. -
CYLINDERS 2M = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
CYLINDERS 2M = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. ReproB/T = Excellent reproduction orange box and printed top Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. All cylinders EDISON unless otherwise indicated. “Direct recording” means recorded directly to cylinder, rather than dubbed from a Diamond-Disc master. This is used for cylinders in the lower 28200 series where there might be a question. BLANCHE ARRAL [s] 4108. Edison BA 28125. MIGNON: Je suis Titania (Thomas). Repro B/T. Just about 1-2. $40.00. ADELINA AGOSTINELLI [s]. Bergamo, 1882-Buenos Aires, 1954. A student in Milan of Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as Giordano’s Fedora. She appeared with success in South America, Russia, Spain, England and her native Italy and was on the roster of the Hammerstein Manhattan Opera, 1908-10. One New York press notice indicates that her rendering of the “Suicidio” from La Gioconda on a Manhattan Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”. At La Scala she was cast with Battistini in Simon Boccanegra and created for that house in 1911 the Marschallin in their first Rosenkavalier. Her career continued into the mid-1920s when she retired to Buenos Aires and taught. 4113. Edison BA 28159. LA TRAVIATA: Addio del passato (Verdi). ReproB/T.