The Ithacan, 1934-02-23

Total Page:16

File Type:pdf, Size:1020Kb

The Ithacan, 1934-02-23 Ithaca College Digital Commons @ IC The thI acan, 1933-1934 2-23-1934 The thI acan, 1934-02-23 Ithaca College Follow this and additional works at: http://digitalcommons.ithaca.edu/ithacan_1933-34 Recommended Citation Ithaca College, "The thI acan, 1934-02-23" (1934). The Ithacan, 1933-1934. 19. http://digitalcommons.ithaca.edu/ithacan_1933-34/19 This Newspaper is brought to you for free and open access by Digital Commons @ IC. It has been accepted for inclusion in The thI acan, 1933-1934 by an authorized administrator of Digital Commons @ IC. ' "Scampers" The Oracle! ''Srampers"J Get Your ·Tickets! aran February 28 rOI .. IV. No. 19 Ithaca College, Ithaca, New York, Febduary 23, 1934 I. C. Basketball T earn Sergei Rachmaninoff Ithaca College Engages Scores Another Victory Accepts Membership Pryor, Noted Conductor, ·th M h . On I. College Board I n Game W1 ec antes - To Head I. C. Band Dept. ~---------- ·------ At the meeting of the Boar<l ol • T i'rustees of Ithaca College formerly Ben Pismanoff Stars, Making TO TEACH HERE Famous Conductor and Trom­ I • C• W restI tng earn lthaca Conservatory, held' Februar\' bonist, Engaged for Summer 19 Points; Score 50-43. Frosh Loses To E. Stroud. 1 ?, the n~te<l . composer ~nd pian~ Will Probably Continue 1d Also Score Over M. I. virtuoso, Sergei Rachmamnoff, was Fall The Ithaca College wrestling team el.ected a member of the Board. In went down to a 24¼ to 7 ½ defeat his letter of acceptance, to the Cha.ir­ The following is reprinted from Ithaca College's basketball team at the hands of a powerful East man ~f t~~ Board, ~1r ..Rachmamn­ the Ithaca-Journal News and is of continued along its winning way Fri­ Stroudsburg contingent on the local off said: . I ac:ept it with pleasure interest to all students of the college. da\" evening when it downed Mc­ gym floor Saturday night. and certam\r will ?e gla~ to have a Arthur Pryor, eminent American ch;nics Institute at Rochester by a · t d talk from time to tune with mu con- bandmaster, has been \~ngagcd for The Pennsylvan1ans prescn c one . h 'I . D · 50-+3 count. of the most powerful and . · d cermng t e .v usic epartment of the summer session at Ithaca Col­ Ben Pismanoff, stellar scoring ' experience your Institution." lege from July 2 to Aug. 10, and groups of grapplers that has set foot guard of the Blues, once again set Speaking of his r:Iection, Professor will probably i.:ontinue his connec­ on the college gym in many years. It the pace for his mates as he scored Vladimir Karapctoff, the Chairman tion with Ithaca College next Sept­ was evident from the start that the 19 points for the Collegians. of the Board of Trustees, said: "The temher, taking charge of the work visitors had a highly trained squad '.\Icchanics was first to break into Hoard of Trustees, the Facultv and of the concert band in, which he when two of I thacas best men, Eld­ the scoring column. Dillon fouled the students of the College feel ·highly will he assisted In· \Valter Beeler. ridge and Livecchi, were pressed to \\'ctmeyer under the loop and th<! elated and honored by this connec­ Arthur Pryor i~ the last of his ~he limit to eke out a time advantage latter made good both foul attempts. tion with a man whose name alone generation of great band leaders, victory. Incidentally Eldridge and Ben Pismanoff tied the score as he is an inspiration ·to all music lovers. such as P. S. Gilmore, Patrick Con­ Livecchi were the onlv Blue-did bone sank a beautiful two counter from Everyone connected with the College way, who founded the Band and crushers to come th~ough with nc- mid court. The game was a close af­ should feel an added pride and stim- Orchestra School at Ithaca College, tori cs. fair until the latter part of the ulus in striving for a standard of ex­ and John Philip Sousa. first half when the Blues staged a Summaries: '.\Ir. Pryor is also one of the 118 pounds. ~o entry from I. C. cellencc and achievement worth,· of rallr and went into a comfortable Rachmaninoff's name. For se~·eral ARTHUR PRYOR world's best known trombone play­ ( Forfeit) lead. The half ended with Ithaca on years he taught the piano in a prom­ ers. 126 pounds. Eld ridge ( I. C.) de­ the long end of a 29-16 score. inent school in '.\loscow, besides hi Years ago at a concert in Berlin, feated Swingle ( E. S.) 5 :33 time ad- '.\lechanics started the second half intimate connection with the Imperial I. C. Band Plays trombonists of six German reg­ in noble fashion with \Vetmeyer, vantage. Conservatories of '.\.loscow and Pctro­ iments gathered to hear him. :'\fr. 135 pounds. Livecchi (I. C.) de­ Bailey Hall Concert Rochester star, sinking_ many diffi­ grad. He is also interested in drama Pryor played a selection in which feated \V right ( E. S.) 1 :40 time ad- cult tries. However, the Rochester and poetry, having written three oper- The ltha:a CollcJ.?:e Con:crt Band, he produced his own bass ac­ attack was soon cut short and another vantage. as and a number of vocal composi- conducted hy \Valter Beeler, gave companiment, jumping three or four · HS pounds Radalonge ( E. S.) de­ scoring drive allowed the Ithacans tions. As to his ability as orchestral an hour's priJJ!:ram in Baile,· Hall 011 octaves between notes. After the con­ deated Roberts (I. C.) 2:40 Fall. to coast to victorv. conductor, it h~s been said that he Friday afternoon, Fehruan·· I b. Thl' cert the Germans approached a Gcr­ 155 pounds. Rosmik (E. S.) de­ The score doe; by no means show could h~vc acl11.eved . f,ame as .su~h, concert wa; given as a {cature for !llan-spcaking member of the Prrnr feated Jackson (I. 3:+5 time ad- the superiority of the Blues. Every C.) even without his ab1l1ty as pianist. Cornell's 27th annual Farm and hand, with a request to. examine the man on the Ithaca squad saw action vantage. an? c~mposer. In addition to the in- Home \\'eek. Lorraine Johnston master's instrument. They spent a 165 pounds. Ringler ( E. S.) de­ and all of them contributed to the 50 sp1rat1on of '.\'1.r. Rachmaninoff's was vocal soloist with the h;md, and quarter of an hour looking it over, point total but two. feated Avery ( I. C.) l :55 Fall. name and p~rsonality, we al~o expect Glenn Brown, xylophone ,:oloist. The taking it completely apart in the pro­ 175 pounds. Summerhill (E. S.) v~lua?le as:1stance and adVlcc from hand played to a lar!,!:e, if itinerant, cess. At the end they went away, I. C. FROSH WIN GAME defeated Green (I. C.) 5:53 Fall. h1~ .m laying out the fundamental audience, who apparenth· enjoyed shakinl,!; their hca<ls skeptically. - Unlimited. Fuller (I. C.) and pol1c1cs of the College. the recreation hour. Bo.th soloists "It's impo~iblc," the,· declared. In th~ preliminary game the lt~a- Skovonskv (E. S.) \Vrcstled to a '.\.Ir. Rachmaninoff was born in were heartih· applauded and encored. "It's just another Yankee· trick." ca. Yearlings· outscored the Mechanics 10 mmu· r·e d raw. :u r. Pryor is a product of St. hosh 50-34. The Blue Frosh soon Final Score-East Stroudsburg 1873 in the province of Novgorod, PROGRA'.\I Russia, and left Russia after the re- '.\larch ::\Iilitaire from Suite Joseph, liissouri, and of musical took the lead and h~ld a fir~ hand 24½; Ithaca 7'/,, volution. His home is in New York Algcrienne .' .. Saint-Sae·ns family. His father was a bandmaster, throughout the entire affair. Al ---0-- his mother a pianist. He started his City, but he .spen~s much time in Overture: Tannhauser . \Vagner Kaufman and Clark were high scor­ musical education with the piano be­ concert tours m this country and Vocal Solo: m for the Collegians, getting 14 and "Scampers" Assembly fore his fingers could stretch an oc­ 10 points respectively. Draws Many Students abroad. Ah, Jc \"CUX vine, from Romeo tave, passing from that to the violin, -o---- and Juliet.. ....... Gounod Summary: which he studied for seven wars. In S. A. I. PLEDGES Lorraine Johnston 1888, when he was 18, h·e joined Ithaca College Varsity G( 50)F p At a meeting of the student body Capriccio Espagnolc Rimsky-Korsakow the Stanley Opera Company as con­ Hawley, rf ......................... -......... 3 2 8 in th.e Little 1~heatkrc, I \Vedncsday The following freshmen women ductor and pianist, touring with that L k. f morning at ten o c1 oc , t 1e announce- were pledged to Sigma Alpha Iota, a. Alborada ar ·m, r ............ ····· ····-·········· .... O l l ment was made that a revival of the h. \ • ariations troupe for three years. :\Ieanwhile, National Professional ~Iusic F ratcr­ he had learned to play the trombone. c. Alborada nity, on \Vcdnesday, February 21: ~~f1~;~~nl,f fr···::::::::::::::::::·:::::::::::·:·:::i 6 1s~~:~;:t~: !t~~iec;:!~;e ,tui:e:~ d. Scene and Cypsy Song "I di~coverc<l,' said '.\Ir. Prvor, Gladys Bunnell, Ithaca, ::'\. Y. 1 on, c ······················ ..................... 1 day evening, February 28th. e. Fandango of the Asturias "that I was a natural trombonist. 1-farjorie Burd, Canisteo, ~. Y. lg ........................................ ll 13 The program was opened with a Xylophone Solo: "'.\Jae" and ":\lac" The art came to me, if not as natural­ t;ta~, 11arjorie Gibson, Poland, ~.
Recommended publications
  • Rachmaninoff, Paganini, & the Piano; a Conversation
    Rachmaninoff, Paganini, & the Piano; a Conversation Tracks and clips 1. Rachmaninoff in Paris 16:08 a. Niccolò Paganini, 24 Caprices for Solo Violin, Op. 1, Michael Rabin, EMI 724356799820, recorded 9/5/1958. b. Sergey Rachmaninoff (SR), Rapsodie sur un theme de Paganini, Op. 43, SR, Leopold Stokowski, Philadelphia Orchestra (PO), BMG Classics 09026-61658, recorded 12/24/1934 (PR). c. Fryderyk Franciszek Chopin (FC), Twelve Études, Op. 25, Alfred Cortot, Deutsche Grammophon Gesellschaft (DGG) 456751, recorded 7/1935. d. SR, Piano Concerto No. 3 in d, Op. 30, SR, Eugene Ormandy (EO), PO, Naxos 8.110601, recorded 12/4/1939.* e. Carl Maria von Weber, Rondo Brillante in E♭, J. 252, Julian Jabobson, Meridian CDE 84251, released 1993.† f. FC, Twelve Études, Op. 25, Ruth Slenczynska (RS), Musical Heritage Society MHS 3798, released 1978. g. SR, Preludes, Op. 32, RS, Ivory Classics 64405-70902, recorded 4/8/1984. h. Georges Enesco, Cello & Piano Sonata, Op. 26 No. 2, Alexandre Dmitriev, Alexandre Paley, Saphir Productions LVC1170, released 10/29/2012.† i. Claude Deubssy, Children’s Corner Suite, L. 113, Walter Gieseking, Dante 167, recorded 1937. j. Ibid., but SR, Victor B-24193, recorded 4/2/1921, TvJ35-zZa-I. ‡ k. SR, Piano Concerto No. 3 in d, Op. 30, Walter Gieseking, John Barbirolli, Philharmonic-Symphony Orchestra, Music & Arts MACD 1095, recorded 2/1939.† l. SR, Preludes, Op. 23, RS, Ivory Classics 64405-70902, recorded 4/8/1984. 2. Rachmaninoff & Paganini 6:08 a. Niccolò Paganini, op. cit. b. PR. c. Arcangelo Corelli, Violin Sonata in d, Op. 5 No. 12, Pavlo Beznosiuk, Linn CKD 412, recorded 1/11/2012.♢ d.
    [Show full text]
  • Elena Ulyanova – Biography
    Piano Jack Price Founding Partner / Managing Director Marc Parella Partner / Director of Operations Brenna Sluiter Marketing Operations Manager Karrah Cambry Opera and Special Projects Manager Mailing Address: 520 Geary Street Suite 605 San Francisco CA 94102 Telephone: Contents: Toll-Free 1-866-PRI-RUBI (774-7824) 310-254-7149 / Los Angeles Biography 415-504-3654 / San Francisco Reviews & Testimonials Skype: pricerubent | marcparella Repertoire Email: Short Notice Concertos [email protected] CD/DVDs [email protected] Recordings Curriculum Vitae Website: http://www.pricerubin.com Complete artist information including video, audio Yahoo!Messenger and interviews are available at www.pricerubin.com pricerubin Elena Ulyanova – Biography Praised as "a phenomenal, gifted performer" by Roy Gillinson of the Beethoven Society of America, Elena Ulyanova is a pianist whose style runs the gamut of power, strength, and technique to a delicate, floating elegant finesse. Hailed by the Moscow Conservatory as one of their most gifted musicians, her Professor Victor Merzhanov noted that she possesses "Great virtuosity, brilliant artistic temperament, unique interpretive expression and a rich sound pallet." At the age of 5, Elena Ulyanova began to study piano with her mother, Larisa Ulyanova, in Saki, Ukraine. After winning several first prizes in Ukrainian and Russian competitions, she was awarded full scholarships for study in Moscow at Gnessin College of Music, Gnessin Academy of Music, and Moscow Tchaikovsky Conservatory. While at Gnessin Academy, she won the Momontov competition, which also resulted in tours of Russia, Bulgaria, and Romania. She was also awarded a tour of Austria, along with the best students representing Gnessin Academy, which included Alexander Kobrin.
    [Show full text]
  • Rehearing Beethoven Festival Program, Complete, November-December 2020
    CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time.
    [Show full text]
  • Aspects of Jazz and Classical Music in David N. Baker's Ethnic Variations
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2002 Aspects of jazz and classical music in David N. Baker's Ethnic Variations on a Theme of Paganini Heather Koren Pinson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Music Commons Recommended Citation Pinson, Heather Koren, "Aspects of jazz and classical music in David N. Baker's Ethnic Variations on a Theme of Paganini" (2002). LSU Master's Theses. 2589. https://digitalcommons.lsu.edu/gradschool_theses/2589 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. ASPECTS OF JAZZ AND CLASSICAL MUSIC IN DAVID N. BAKER’S ETHNIC VARIATIONS ON A THEME OF PAGANINI A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The School of Music by Heather Koren Pinson B.A., Samford University, 1998 August 2002 Table of Contents ABSTRACT . .. iii INTRODUCTION . 1 CHAPTER 1. THE CONFLUENCE OF JAZZ AND CLASSICAL MUSIC 2 CHAPTER 2. ASPECTS OF MODELING . 15 CHAPTER 3. JAZZ INFLUENCES . 25 BIBLIOGRAPHY . 48 APPENDIX 1. CHORD SYMBOLS USED IN JAZZ ANALYSIS . 53 APPENDIX 2 . PERMISSION TO USE COPYRIGHTED MATERIAL . 54 VITA . 55 ii Abstract David Baker’s Ethnic Variations on a Theme of Paganini (1976) for violin and piano bring together stylistic elements of jazz and classical music, a synthesis for which Gunther Schuller in 1957 coined the term “third stream.” In regard to classical aspects, Baker’s work is modeled on Nicolò Paganini’s Twenty-fourth Caprice for Solo Violin, itself a theme and variations.
    [Show full text]
  • La Sonnambula, Robert Le Diable, and Norma
    PERFORMANCE SUGGESTIONS FOR FRANZ LISZT'S OPERATIC ARRANGEMENTS ON DON JUAN (DON GIOVANNI), LA SONNAMBULA, ROBERT LE DIABLE, AND NORMA BY CHARLES JOSEPH SMITH B.M., Roosevelt University (Chicago), 1994 M.M., University of Illinois at Urbana-Champaign, 1995 TRANSCRIPTS OF THE TWO LECTURE-RECITALS Submitted in partial fulfillment for the degree of Doctor of Musical Arts in Piano Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2002 Urbana, Illinois UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN SCHOOL OF MUSIC DECEMBER 2002 WE HEREBY RECOMMEND THAT THE RESEARCH PROJECT BY CHARLES JOSEPH SMITH ENTITLED PERFORMANCE SUGGESTIONS FOR FRANZ LISZTrS OPERATICE ARRANGEMENTS ON DON JUAN (Don GIOVANNI), LA SONNAMBULA, ROBERT LE DIABLE, AND NORMA BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS IN PERFORMANCE AND LITERATURE. Director of Research Head of Department Committee on Final Examination O 1H42 ABSTRACT The purpose of the dissertation is to find out how would a modern-day pianist of a new generation interpret the Liszt opera fantasies for piano--as Liszt wanted it to be done. The foci of the problem were in five interpretative areas of piano performance: tempo, dynamics, phrasing, pedal, and articulation. The study focused on these Liszt opera fantasies: Don Juan (Mozart), La Sonnambula (Bellini), Robert le Diable (Meyerbeer), and Norma (Bellini) . They not only give the best possible sample of Liszt's opera fantasies, but also show the best of the piano transcriptions Liszt had in his repertoire. Primary sources for this study included Dover's Franz Liszt: Piano Transcriptions of French and Italian Operas, Diary Notes of August Gollerich, and past and present recordings of pianists playing the selected fantasies, including Leslie Howard, Ferruccio Busoni, Louis Kentner, Raymond Lewenthal, Ian Hobson, and Michele Campanella.
    [Show full text]
  • The American Stravinsky
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
    [Show full text]
  • New Resume Ate Fim De 9, Completo
    I. Personal Data CAIO PAGANO BIRTH DATE: 5/14/1940 CITIZENSHIP: American/ Italian/Brazilian II. FORMAL SCHOOLING AND TRAINING A/ K-12 Dante Alighieri School in São Paulo, Brazil concluded 1957. B/ Higher Education 1- Masters in Law, College of Law, University of São Paulo 1965. 2- Doctorate in Music, Catholic University of America, Washington D.C., U.S.A., 1984. C/ Music Education Magda Tagliaferro School of Piano, with teacher Lina Pires de Campos, São Paulo, Brazil, 1948-1958. Private teaching: Magda Tagliaferro, São Paulo 1948-1958. Mozarteum Academy Buenos Aires, Argentina, teacher Moises Makaroff May-August, 1961. École Magda Tagliaferro: Magda Tagliaferro, 1958, Paris, France. Mozarteum Academy, Salzburg, Austria, teacher Magda Tagliaferro, 1958. Professor Sequeira Costa, Lisbon, Portugal, August- December, 1964. !Professor Helena Costa Oporto, Portugal, January- !September, 1965. 1 Summer Camp Cascais, Portugal, teachers Karl Engel and Sandor Vegh, 1965-1966. Hochschule für Musik Hannover, Germany, teacher Karl Engel, 1966-1968. !Hochschule für Musik Hamburg, Germany, teacher Conrad !Hansen, 1968-1970 Harpsichord Studies, Pro-Arte, São Paulo, Brazil, teacher Stanislav Heller, 1964. Theory & Harmony, teachers O. Lacerda and Caldeira Filho, São Paulo, Brazil, 1952-1957. Form and Analysis, São Paulo, Brazil, teacher Camargo Guarnieri 1958. 2 1. Full-Time Professorships .1 Piano Professor in Music seminars at Pro-Arte; São Paulo, Brazil, 1963. .2 Piano Professor at the University of São Paulo, Brazil Department of Music, 1970-1984. .3 Visiting Professor at Texas Christian University, Fort Worth, TX, U.S.A., 1984-1986. Second term 1989/1990. .4 Professor at Arizona State University, Tempe AZ, U.S.A., 1986-present; since 1999, Regents’ Professor; in 2010 !selected Professor of the Year .5 Artistic Director at Centre for Studies of the Arts, Belgais, Portugal, 2001-2002.
    [Show full text]
  • WH Monthly Diary: May/April 2018
    APR/ MAY 2017/18 SEASON www.wigmore-hall.org.uk 2 • SEPTEMBER-OCTOBER www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office TICKETS 36 Wigmore Street, London W1U 2BP Unless otherwise stated, tickets are divided into five prices ranges: In Person ■ Stalls C – M Highest price 7 days a week: 10am – 8.30pm. ■ Stalls A – B, N – P 2nd highest price Days without an evening concert 10am – 5pm. ■ Balcony A – D 2nd highest price No advance booking in the half hour prior to ■ Stalls BB, CC, Q – S 3rd highest price a concert. ■ Stalls AA, T – V 4th highest price ■ Stalls W – X Lowest price By Telephone: 020 7935 2141 7 days a week: 10.00am–7.00pm. AA AA Days without an evening concert: AA STAGE AA AA AA 10.00am–5.00pm. BB BB There is a non-refundable £3.00 administration CC CC A A charge for each transaction. B B C C D D Online: www.wigmore-hall.org.uk E E F FRONT FRONT F STALLS STALLS 7 days a week; 24 hours a day. G G There is a non-refundable £2.00 administration H H I I charge. J J K K L L Standby Tickets M M N N Standby tickets for students, senior citizens and O O P P the unemployed are available from one hour Q Q before the performance (subject to availability) R R S S with best available seats sold at the lowest price. REAR REAR T STALLS STALLS T U U NB standby tickets are not available for V V Lunchtime and Coffee Concerts.
    [Show full text]
  • Percy Grainger and New Worlds of Concert Pianism
    Percy Grainger and New Worlds of Concert Pianism: A Study of Repertoire and Programming (1914-1926) Natalie Stephanie Bellio Dissertation submitted in partial fulfillment of the requirements of the degree of Master of Music (By Research) October 2013 Melbourne Conservatorium of Music The University of Melbourne Produced on archival quality paper Abstract This thesis presents an overview of Percy Grainger’s piano repertoire and programming on his tours in the United States and elsewhere in the period 1914-1926. In the United States, Percy Grainger encountered a new and wider audience, which gave him the recognition he desired to become well established as a concert pianist, and allowed him the freedom to explore a wider range of piano repertoire, as well as perform his own piano works. He developed an individual approach to programming his piano recitals and committed himself to a role as ambassador for the piano works of selected modern composers throughout America, Scandinavia and Australia. This thesis briefly explores Grainger’s performing career in London from 1901 to 1914, to provide background on Grainger’s roles as a pianist, the diversity of the piano repertoire he performed, and the restrictive circumstances surrounding his early career whilst under the management of his mother Rose. Through new research conducted on concert programmes and other relevant archival material available at the Grainger Museum, this thesis examines Grainger’s transformation as a pianist, the evolution of his selection of piano repertoire and his innovative and maturing approach to recital programming in the United States from 1914 to 1926. In addition, this study explores Grainger’s developing professional role as an educator and promoter of his preferred piano repertoire in the United States.
    [Show full text]
  • Universiv Micrcsilms International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. Tlie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • We Are TEN – in This Issue
    RVW No.31 NEW 2004 Final 6/10/04 10:36 Page 1 Journal of the No.31 October 2004 EDITOR Stephen Connock RVW (see address below) Society We are TEN – In this issue... and still growing! G What RVW means to me Testimonials by sixteen The RVW Society celebrated its 10th anniversary this July – just as we signed up our 1000 th new members member to mark a decade of growth and achievement. When John Bishop (still much missed), Robin Barber and I (Stephen Connock) came together to form the Society our aim was to widen from page 4 appreciation of RVW’s music, particularly through recordings of neglected but high quality music. Looking back, we feel proud of what we have achieved. G 49th Parallel World premieres Through our involvement with Richard Hickox, and Chandos, we have stimulated many fine world by Richard Young premiere recordings, including The Poisoned Kiss, A Cotswold Romance, Norfolk Rhapsody No.2, page 14 The Death of Tintagiles and the original version of A London Symphony. Our work on The Poisoned Kiss represents a special contribution as we worked closely with Ursula Vaughan Williams on shaping the libretto for the recording. And what beautiful music there is! G Index to Journals 11-29 Medal of Honour The Trustees sought to mark our Tenth Anniversary in a special way and decided to award an International Medal of Honour to people who have made a remarkable contribution to RVW’s music. The first such Award was given to Richard Hickox during the concert in Gloucester and more .
    [Show full text]
  • Jascha Heifetz, David Oistrakh, Joseph Szigeti: Their Contributions to the Violin Repertoire of the Twentieth Century Jae Won (Noella) Jung
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Jascha Heifetz, David Oistrakh, Joseph Szigeti: Their Contributions to the Violin Repertoire of the Twentieth Century Jae Won (Noella) Jung Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC JASCHA HEIFETZ, DAVID OISTRAKH, JOSEPH SZIGETI: THEIR CONTRIBUTIONS TO THE VIOLIN REPERTOIRE OF THE TWENTIETH CENTURY By Jae Won (Noella) Jung A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2007 Copyright © 2007 Jae Won (Noella) Jung All Rights Reserved The members of the Committee approve the treatise of Jae Won (Noella) Jung on March 2, 2007. ____________________________________ Karen Clarke Professor Directing Treatise ____________________________________ Jane Piper Clendinning Outside Committee Member ____________________________________ Alexander Jiménez Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS First of all, I would like to express my sincere appreciation to my advisor, Professor Karen Clarke, for her guidance and support during my graduate study at FSU and I am deeply grateful for her advice and suggestions on this treatise. I would also like to thank the rest of my doctoral committee, Professor Jane Piper Clendinning and Professor Alexander Jiménez for their insightful comments. This treatise would not have been possible without the encouragement and support from my family. I thank my parents for their unconditional love and constant belief, my sister for her friendship, and my nephew Jin Sung for his precious smile.
    [Show full text]