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The Hyechra Club
THE HYECHRA CLUB The narrator has had a lively interest in The Hyechka Club since its beginning and believes that its history merits recording and dmu- menting in The Chronicles of OkZuhoma, Members of the Club in the past have been interested and its members today are interested in building and supporting a city and a state as cultural centers in which to rear patriotic and Clod-fearing children worthy of the loftiest ideals. Instead of a brief history, this band of music lovers is entitled to a fdsized, two volume publication to report ad* quately all that they have given to the education of young people along cdtural lines and to the wealth of Tulsa and the State of Oklahoma as expressed in the leadership and influence of the known and unknown contributors. Looking over the names of world famous artists that have appeared on its early programs and in its annual Spring Festivals, the words of Warner Van Valkenburg are a fitting tribute and introduction even to this brief history of Tulsa's pioneer organization of music lovers :l "I AM MUSIC. "I am the hymns of the Christian Martyrs in the catacombs; I am the songs of thanksgiving of the kneeling Pilgrime; I am the fugues of Bach, and the oratorios of Handel and Haydn; I am the magic flute of Momrt; I am the immortal symphonies of Beethoven; I am the throbbing mee- sages of Schubert and Schumann; I am the nocturnes of Chopin and the folk melodies of Dvorak; I am the rhapsodies of Linzt and the music- dramas of Wagner; I am the voice of Peter Tchaikowski, crying in the wilderness; I am Brahms and Richard Straues, and Verdi, fulfilling the command of destiny; yea I have breathed upon the harps of MacDowell and Cadman, and have sung of a new world in the west. -
Forgotten Splendour
FORGOTTEN SPLENDOUR A Chronology of the North Shore Music Festival 1909 to 1939 by Andrew Cottonaro Beginning in 1909 and lasting until 1939, the North Shore Music Festival of Northwestern University was a significant musical and social event in the Chicago area. For a few days each Spring, the campus hosted a diverse body of performers in a series of grand concerts. Naturally, some of that era’s most eminent singers could be heard there. Their presence certainly helped to sell tickets and their artistry helped to sustain the festival as a popular and critical success. Now, sixty years later, the festival hardly even counts as a faded memory. To date, two books (in part), offer a general outline of the festival’s history, but both lack any detailed analysis of who appeared and what was actually sung. This is the first attempt to present a chronology of the vocal offerings (quite distinct from the orchestral offerings) at the festival. Northwestern University, the official sponsor of the festival, is located in Evanston, Illinois (USA). The town is a suburb of Chicago, directly north of the city and on the banks of Lake Michigan. Because of this geographic position, Evanston and the other cities of the area are called the North Shore, hence the origin of the festival’s name. Northwestern University was incorporated in 1850 and gradually won recognition for its academic excellence. The establishment of musical studies, however, was a tangled web of many failed efforts. In a final and desperate attempt to salvage musical education, the university’s board of trustees in 1891 appointed Peter Christian Lutkin (1858-1931) to direct musical studies, a post that he held until his death. -
October 1926) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 10-1-1926 Volume 44, Number 10 (October 1926) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 44, Number 10 (October 1926)." , (1926). https://digitalcommons.gardner-webb.edu/etude/739 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. 7 MUSIC STUDY EXALTS LIFE MVSIC *dte ETVDE MAG A Z INE Price 25 Cents OCTOBER 1926 $2.00 a Year BEETHOVEN DISCOVERING HIS DEAFNESS Special Enlarged Issue ^ A Remarkable Master Lessonon Beethoven’s “Sonata Pathetique” by the Great Pianist, Wilhelm Bachaus ^ Don’ts for Artists by Cyril Scott ^ Marvels of the Human Voice by Oscar Saenger How to be a Drum Major by J. B. Cragun & Queer Notation by F. Berger. _.. ____ _ . OCTOBER 1926 Page 707 The Schirmer Catalogs COMPLETE CATALOG FOR THE STUDENT MELODYLAND r By J- Lawrence Erl, By C. W. Krogmann By ] 3fS-S“^£ri?T Pment8M3U2SiC f°r Wlnd and Str,n« Instru- Tfie DILLER and QUAILE HAZEL GERTRUDE BOOKS KINSCELLA’S WORKS GERANIUM SEWING CLUB 5K"! By Matfulde Bilbro ‘her-. -
17.4. Hackett-Olitzka. Pp 88-123
VOCAL 78 rpm Discs EDUARD HABICH [bs]. See: HERMANN JADLOWKER [t] CHARLES HACKETT [t]. See also: RICCARDO STRACCIARI [b] 2223. 10” Tri-Color Columbia 80673 [take 3]. I SHALL KNOW (Mana-Zucca). Uncommon. Excellent lam. surface. Just about 1-2. $8.00. EVA HADRABOVA [s] 3573. 12” PW Blue Telefunken F527 [30493/30494- 1]. TOSCA: Te Deum [Finale, 1. Akt] (Puc- cini). Two sides. With WILHELM RODE [b]. Orch. dir. Selmar Meyrowitz. Just about 1-2. $15.00. MINA HAGER [ms] 3845. 12” Blue Musicraft1016 [GM35B/GM36B]. ON A SCREEN; THE ODALISQUE / BER- CEUSE DE LA GUERRE (all John Alden Carpenter). Piano acc. Celius Dougherty. Just about 1-2. $12.00. GEORGE HAMLIN [t] CHARLES HACKETT at the Columbia 4266. 10” White lbl. blk. vinyl Victor mat. B-6180-2. recording horn ACIS AND GALATHEA: Love Sounds the Alarm (Händel). Unpublished. Rec. May 9, 1908. I can’t imagine why this was never issued. Just about 1-2. $15.00. 3140. 12” Red “B” plate Pats. Victor 74250. THE CREATION: In Native Worth (Haydn). Only form of issue. Just about 1-2. $8.00. JOAN HAMMOND [s] 1346. 10” Plum HMV B.9503 [OEA-10981-1/OEA-10982-1]. THE DONKEY (Richard Hage- man) / MAGDALEN AT MICHAEL’S GATE (Liza Lehmann). Piano acc. Gerald Moore. Uncommon. Cons . 2. $7.00. JOHN HARRISON [t] 1987. 10” Blk. London G&T 3-2234. FAUST: Salve dimora (Gounod). In English. LGTs, otherwise gen. 2-3. $10.00. ORVILLE HARROLD [t] 3399. 12” White lbl. vinyl Vla mat. C-24379-3. LAKMÉ: Fantasie aux divins mensonges (Delibes). -
Naughty Marietta
Franchesca Sonoyama (Marietta) has performed in three Samantics concerts: Lerner & Loewe, The Oscars, and In Paradisum/Embodiment. Theatre roles include Babette/Feather Duster in BEAUTY AND THE BEAST and Consuela in WEST SIDE STORY (Woodland Opera House), Lady Ella in Gilbert & Sullivan’s PATIENCE and Kate in PIRATES OF PENZANCE (Light Opera Theatre of Sacramento). Franchesca serves as School Partnership presents Program Manager at Sacramento Theatre Company. Matt Van Zandt (Sir Harry Blake) is likely to have his 10-year sentence Victor Herbert’s in Samantics extended due to bad behavior. He was given leave to appear in Titanic 100th Anniversary Tribute, JONATHAN LIVINGSTON SEAGULL, and HOW NOW DOW JONES. His gainful employment as a computer programmer allows him time to be husband and daddy, brew beer, study languages, and freedive. Orlana Van Zandt (Marie Le Valleau) has been singing with Samantics since its inception in 2009, where her credits include VALLEY OF THE DOLLS (Anne Welles), Those Darn Donners (Dina Donner), Christmas Tea with Trina (Asian Kid); In Paradisum/Embodiment, Love, Samantics Style (Token Asian); Salute to Oscar’s Best Songs (herself). Other credits include Songs I’ll Never Get To Sing: A Cabaret of Wishful Thinking (Theater Galatea), and A CHRISTMAS CAROL and CINDERELLA (both at STC). Eddie Voyce (Vendor, Florenze) is a long-time Samantics regular, and has been in numerous musicals in the Sacramento Area. This year he received an Elly nomination for RUMPLESTILTSKIN AND THE GAME OF THE NAME. Other roles include Lefou in BEAUTY & THE BEAST, Cornelius Hackl in HELLO, DOLLY!, Judas Iscariot in JESUS CHRIST SUPERSTAR, Joseph in THE AMAZING TECHNICOLOR DREAMCOAT and Roger Davis in RENT. -
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. 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. ROBERT BLASS [bs]. New York City, 1867-Berlin, 1930. Born of German parents, Blass studied first as a violinist and then voice in Frankfurt with Julius Stockhau- sen. His debut was in Weimar, 1892, as King Henry in Lohengrin and he was soon heard in many of Germany’s leading houses. Covent Garden and the Metropolitan Opera first heard him in 1900 and he sang in New York through 1910 and again the seasons of 1920-22. From 1913 to 1920 he was with Berlin’s Deutsche Opera and he taught in Berlin until his death. Blass made few recordings, these for Victor in 1903 and Edison in 1905. 9165. 2M Wax Edison B-48. MAGIC FLUTE: In diesen heil’gen Hallen (Mozart). Announced by Blass. OBT. Just about 1-2. $75.00. ALOIS BURGSTALLER [t]. Holzkirchen, Germany, 1872-1945. Trained as a watchmaker, Burgstaller was heard by chance and encouraged by Cosima Wagner. He made his stage debut at Bayreuth in 1894 in a small role, and from 1896 to 1903 he appeared there in various principal parts such as Siegmund, Parsifal, and Siegfried. In addition he sang at Covent Garden, in Paris and Moscow, as well as in other major Euro- ROBERT BLASS pean operatic sites. -
THE NORJ\'\I\L COLLEGE EWS VOLUME 18 YPSILANTI, MICHIGAN, APRIL 22, 1921
Eastern Michigan University DigitalCommons@EMU EMU Student Newspaper: The orN mal News & University Archives The Eastern Echo 1921 The orN mal College News, April 22, 1921 Eastern Michigan University Follow this and additional works at: https://commons.emich.edu/student_news Recommended Citation Eastern Michigan University, "The orN mal College News, April 22, 1921" (1921). EMU Student Newspaper: The Normal News & The Eastern Echo. 522. https://commons.emich.edu/student_news/522 This Article is brought to you for free and open access by the University Archives at DigitalCommons@EMU. It has been accepted for inclusion in EMU Student Newspaper: The orN mal News & The Eastern Echo by an authorized administrator of DigitalCommons@EMU. For more information, please contact [email protected]. THE NORJ\'\i\L COLLEGE EWS VOLUME 18 YPSILANTI, MICHIGAN, APRIL 22, 1921. NUMBER 27 FRESHMAN DEBATERS tOLLEGE Y. M. C. A. NORMAL CASTE ALBION GAlVI}J UHINESE OPERET'fA WIN OVER KAZOO ELECTS OFFICERS PERFORM \YELL FIRSrr ON LIST NEXT )VEDNESDAY A TWO ·ro OX E lrnCISION GIVES NOW PJU�PARTNG FOH NEXT ('LEY ER COlUEDY BY GO,LTlSlUT'fH FTHS'r GAME OF '.I.'HE lU. I. A. A.; SOLOISTS, CHORUS, NEW SCEN- VIC'.I.'ORY TO OUR 'l'EHl; BO'l'H YEA R'S WORT{ l'Nl)Elt T,]U I). )IJrn'rS WT'J'Tl 1\JU('H APPLAUSE YPSI S'fANnS GOOD CHANCE }�RY, STUNNING •COSTUMES, TEAlUS SPEAU. WJ�LL ERSHTP OF HEAUlN ANT) lU.\NY LAUGHS OF WINNING S!IART DIAGOLUE The dual debate between the A A.meeting was called by the Y. -
LYRIC Kskd--Y
TITE SUNDAY OREGOXIAX. PORTLAND. APRIL 25, 1920 Russians may be attributed the un- Korsakoff's Russian opera-ball- et was foreseen success of the Tschaikowsky sung in French. opera. Perhaps changed conditions None of the foregoing represents might make it worth while for the modern French repertory unless we A Metropolitan Opera company to re- except the works of Rabaud and of vive the same composer's "Pioue the present French conductor of the Dame," which a few years ago bad Metropolitan. Albert Wolff, In whom to be shelved on account of lack of the company has a man sufficiently interest on the part of the public. skilled to bring French opera fo the The Metropolitan Opera company high estate it .should occupy. He has many gems tucked away, due should have his ebance at the lovely CAZA1 perhaps more to the fact that the things on the shelf such as "Arlane audiences were not ready for them et Harbe-Bleue- " by Dukas, "Julien" than because of Inherent weakness. by C'harpentier, to say naught of Since we may have translated operas bringing into the Metropolitan reper- WEEK-STARTING -TODAY'S -MATINEE why not that exquisite "Children of tory the ever lovely "Louise" what the King." which In understandable a superb heroine would Frances Alda English would have an entirely new make! , Indeed, with Mme. Alda In attraction for a public which never the company the Metropolitan has an understood the subtleties nor indeed, asset which would assuredly justify perhaps the most obvious portions of building around her an entire French the Humperdinck ,work? campany. -
The Edison Records Used in the Boston Recital Were Not Specially Made for This Test
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org THE MUSIC TRADE REVIEW The Edison Records used in the Boston Recital were not specially made for this test -Any Edison Diamond Disc Record will sustain this amazing test when played in comparison with the performance of the artist who made it. The records used in Tone Tests are taken from stock. The Edison Diamond Disc Catalog contains nearly a thousand wonderful re-creations of the work of world-famed artists. Among these artists are: Jacques Urlus, Tenor — Wagnerian Marie Duchene, Contralto—Prima T. Foster Why, Bass—A very popu- tenor, member of Metropolitan Opera Donna contralto of Metropolitan Opera lar American concert basso. Company, New York. Company, New York. Philip H. Wolfram, Bass—Oratorio Anna Case, Soprano—Member Metro- Carl Flesch, Violin—Eminent Hungar- concert and recital basso. politan Opera, New York. American ian violinist, one of the foremost living Dan Beddoe, Tenor—Famous Welsh operatic lyric soprano. violin players. tenor, prominent in music festivals con- Marie Dema, Contralto—French oper- cert and oratorio. Alice Verlet, Soprano—One of the atic contralto, well known abroad. greatest of all coloratura sopranos. Has Eleanora de Cisneros, Contralto— Gregor Skolnik, Violin—Concert mas- appeared in leading operatic roles in American operatic contralto; has ap- ter of Chicago Symphony Orchestra and Brussels, Paris, etc., with tremendous peared with the Manhattan Opera Com- violin soloist of note. success. pany, Metropolitan Opera Company, Heinrich Hensel, Tenor—German op- Emmy Destinn, Soprano—Bohemian and the Philadelphia Chicago Opera. dramatic soprano; has appeared in lead- eratic tenor. -
Metropolitan .^
The Merit ofNative Works Calendar for the Current Week Why the Cause of National Was Not Ad- SUNDAY.Carnegie Hall, 8 p. m., concert by the Philharmonic Societv Opera jCnrreat Aeolian Hall, 3 p. m., concert by the Symphony Society; Hippodrome' vanced by Breil and 8 p. m., concert by John McCorrnack; Metropolitan Opera House Hugo-Better Works by of g»3o p. m., concert music by Verdi and Puccini; Great Hall of Predecessors to i"lttiffictioi3^ of the of the Unjustly Relegated Obscurity College City New York, 4 p. m, free organ Samuel A. recital bv atthe J Baldwin; Brooklyn Academy of Music, 3 p. m., song recital by David Bispham. By H. E. Krehbiel tile knowledge of the drama could MONDAY.Aeolian 3 rn., recital The have Hall, p. pianoforte by Beryl Rubinstein* exigencies of newspaper work failed to see the wretched bom¬ 8:15 p. m., pianoforte recital by Bella Hecht; lead to a of the bast of the Metropolitan Opera summary disposition text of "The Legend" or House, 2 p. m., opera-ballet in French, "Le Coq 8 subjects of criticism which is fre- the of its All critics Metropolitan d'Or"; p. rn., French absurdity plot. the .^ opera, Park 8 m. "Mireille"; Theatre, p. (and all week), English ntly unfair. Nobody knows that in town made merry over these things, TUESDAY.Aeolian 3 opera. ¦. better than Hall, p. m., song recital by Elizabeth the conscientious though their opportunity to study the m., Jones; 8:15 ' p. pianoforte recital by Jan Chiapusso; Park 8 tic, who sometimes, on the morning opera was as nothing compared with Theatre, p. -
VOCAL CYLINDERS 2M WA = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
VOCAL CYLINDERS 2M WA = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Repro B/T = Excellent reproduction orange box and printed top. All others in clean, used box. 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. “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. 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 Man- hattan 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 contin- ued into the mid-1920s, when she retired to Buenos Aires and taught. 9269. 4M Edison BA 28137. TOSCA: Vissi d’arte (Puccini). Repro B/T. Cons. 2. $25.00. BLANCHE ARRAL [s]. 9270. 4M Edison BA 28116. MIGNON: Je suis Titania (Thomas). -
Dream Melody Intermezzo: Naughty Marietta”-- Victor Herbert and His Orchestra (1911) Added to the National Registry: 2017 Essay by Alyce Mott (Guest Post)*
“Dream Melody Intermezzo: Naughty Marietta”-- Victor Herbert and His Orchestra (1911) Added to the National Registry: 2017 Essay by Alyce Mott (guest post)* Victor Herbert Arthur Hammerstein Oscar Hammerstein I A Masterpiece Arises Victor Herbert’s 1910 “Naughty Marietta,” America’s finest operetta, contains the most famous 16-measure melody ever written by an American composer, “Ah, Sweet Mystery of Life.” That song was first available to the public as sheet music and then on a very early recording device: an Edison Blue Amberol Cylinder No. 1775, under the title, “Dream Melody Intermezzo,” recorded by The Victor Herbert Orchestra, under the baton of Herbert; it was made in January, 1911. The original of this American recording treasure is included in the National Recording Registry. The work is labeled an “intermezzo,” meaning “in the middle,” which refers to any composition which fits between other musical or dramatic entities, such as acts of a play, an opera or an operetta. It is normally a light instrumental composition and is complete, allowing it to stand alone. In the operetta “Naughty Marietta,” set in New Orleans in 1780, this intermezzo was used to cover the set change from the Act II, Scene 1, scenery of the Marionette Theatre, to the Act II, Scene II, scenery of the Jeunesse Dorée Club. The work lasts approximately 4:09 minutes. It is the only time during the operetta that the entire melody is heard before the Finale Ultimo. The music weaves throughout the entire operetta as Marietta struggles to find someone to finish the melody she hears in her mind.