NIEWEG Chart: Harp with Strings
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School Catalog, the Academy, 1974
Published by Philadelphia Musical Academy, 1974 313 South Broad Street Philadelphia, Pennsylvania 19107 Preface The Philadelphia Musical Academy Catalogue is in four sections —each of which is used also separately as a brochure for its respective area. In the front of each section there is an alphabetical Table of Contents for that section. For each section, an identifying symbol is used. The symbol for this section ^J is aPorrectus; a neume from Gregorian Chant notation. Table of Contents Academy Facilities 4 Administration and Staff — listed it Biographical Notes — Faculty and Administration 13 Biographical Notes — Board of Directors 23 Board of Directors — listed 12 Electronic Music Center 5 Faculty — listed by area of specialty 8 History of the Academy 3 Map of Center City Cultural Institutions 26 Objectives of the Academy 2 Preparatory and Extension Division 5 Preparatory and Extension Division Faculty 10 Student Life in Philadelphia 25 Student Services — Placement Office, Concerts & Lectures, Counseling Services 30 N 2 aS^ Objectives of the A properly focused study of music reveals the subject both as a profession Academy andadiscipline. It develops skill, while fostering understanding; it provides information and preserves meaning; it supplies facts and seeks knowledge. Such a study insures respectforthe legacy of tradition and yet fosters the desire for the adventure of discovery. Two ingredients are essential to an institution dedicated to these aims: A professionally active faculty capable of serving as mentor and exemplar and a program of study to which the faculty is totally committed. These are abundantly represented at the Philadelphia Musical Academy. This is not to say that professional development is the only goal of the Academy. -
School Catalog, 1960-1961
,P2, ™<5-*S The Philadelphia Conservatory of Music eighty-fourth season 1960-1961 Digitized by the Internet Archive in 2010 with funding from Lyrasis Members and Sloan Foundation http://www.archive.org/details/schoolcatalog196061phil The Philadelphia Conservatory of Music FOUNDED, 1877 Main Line Studio Main School INCORPORATED, 1884 The Rittenhouse, 52 East Lancaster Ave. 216 South Twentieth Street Ardmore, Penna. Philadelphia 3, Penna. Telephone, LOcust 7-6215 William Ezerman, President Board of Directors Allison R. Drake Allison R. Drake, Dean Maria Ezerman Drake Willem Ezerman Maria Ezerman Drake, Director Merle S. Schaff Harry E. Sprogell A. Hendrik Drake, Assistant Director Catalogue 1960-1961 EIGHTY-FOURTH SEASON Hendrlka S. Jurrjens Mary V. Hagerty Nancy Hall Secretary to Director Assistant Secretaries "The best insurance against material losses is the education that develops inner resources. Olga Samaroff Stokowslci THE PHILADELPHIA CONSERVATORY OF MUSIC The oldest chartered Music School in the State of Pennsylvania EIGHTY-FOURTH SEASON While highly endowed institutions provide opportunities for Not only to teach professional players, but also to start a free musical education to a limited number of outstanding the musical training of children in the right way, to teach talents, the task of offering a thorough musical training to the layman to enjoy the art of music, to prepare capable the general public on a sane and sound basis cannot be ne- teachers and give them a valuable musical background, glected if music is to take its rightful place in the civic and is the aim of The Philadelphia Conservatory of Music. national life of the United States. -
Donation of Dewey Owens Detailed Inventory
Donation of Dewey Owens Detailed Inventory For reference purposes the box numbers in parentheses refer to the Preliminary Inventory List BOX #1 – CORRESPONDENCE FOLDERS 1-10 Folder #1 (BOX 2: Box 2 #31) • Miscellaneous correspondence of Salzedo, programs, and magazine articles • Correspondence to and from Hermann Walecki of Lyon and Healy Harps (1940) • Correspondence to and from Marietta Bitter, a former student (1929-1934) • Correspondence to and from Arthur Judson (1929-1931) • Correspondence to and from E. W. Doty of the University of Texas (1941) • Correspondence to and from students; miscellaneous programs (1932) • Correspondence to and from Steinway & Sons, Inc. (1938-1940) • Correspondence to and from Marcel Grandjany (1938-1940) • 1 program, 2 magazine articles (one by Salzedo and one about the Salzedo harp) • Correspondence from Dolores E. Chilsen to Marie Miller about Chilsen's book on • harpists (1941) Folder #2 (BOX 2: Unnamed folder #2) Correspondence to and from Carlos Salzedo • Correspondence to and from Mrs. Everett G. Lawrence (1924) • Correspondence to and from Miss Lucile Lawrence (1921) Folder #3 (BOX 2: Box 2 #8) Correspondence of Salzedo with the following: • Mrs. Edward Bok (1931) • Mr. Leopold Stokowski (1929-1940) • Mr. Ossip Gabrilowitsch (1931) • Mr. Fritz Reiner (1928, 1932) • Mr. Wallingford Reigger (1932) • Mrs. Lawrence (1918) • Mr. Lawrence (1920) Miscellaneous material included: • Correspondence from Ruth Freeman Gudeman to Lucile Lawrence (1984) • A photograph of the 1956 Camden Summer Institute • A Magazine article: "The Harp In College and University Training" Folder #4 (BOX 2: Folder 3, 4) The Nijinsky fund (1932) Folder 3: • Bank statement, checks, etc. • Correspondence to and from Salzedo concerning donations Folder 4: • Correspondence to and from Carlos Salzedo from those declining to donate to the fund Folder #5 (BOX 1: Box 4 #12) Correspondence and records of Carlos Salzedo concerning the Anonymous Composer's Fund (1937-1938) Folder #6 (BOX 2: Box 4 #22) Correspondence of Salzedo with Juliette (Mrs. -
Leopold Stokowski Papers Ms
Leopold Stokowski papers Ms. Coll. 381 Finding aid prepared by Margaret Kruesi. Last updated on February 01, 2021. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2001 Leopold Stokowski papers Table of Contents Summary Information...................................................................................................................................3 Biography/History.........................................................................................................................................4 Scope and Contents.......................................................................................................................................8 Administrative Information.........................................................................................................................10 Controlled Access Headings....................................................................................................................... 10 Bibliography................................................................................................................................................11 Collection Inventory................................................................................................................................... 12 Series I. Correspondence.......................................................................................................................12 Series II. Leopold Stokowski notes, audition materials, and calendars................................................29 -
San Diego Symphony Orchestra a Jacobs Masterworks Concert
SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT March 18-20, 2016 GABRIELA FRANK Five Scenes (world premiere commissioned by the San Diego Symphony Orchestra) Malashock Dance ALBERTO GINASTERA Harp Concerto, Op. 25 Allegro giusto Molto moderato (Tempo I) Libramente capriccioso; Vivace Yolanda Kondonassis, harp INTERMISSION IGOR STRAVINSKY Suite from The Firebird (1945 version) Introduction Prelude and Dance of the Firebird Variations (Firebird) Pantomime I Pas de deux (Firebird and Ivan Tsarevich) Pantomime II Scherzo (Dance of the Princesses) Pantomime III Rondo (Khorovod) Infernal Dance Lullaby (Firebird) Final Hymn Five Scenes (world premiere) GABRIELA LENA FRANK Born September 1972 A program note from the composer: Five Scenes for orchestra is a compilation of arrangements created from various of my chamber works especially for choreographer John Malashock. John and I met through an "arranged marriage" kindly brokered by Tommy Philips of the San Diego Symphony, and it was a fortuitous meeting, indeed! As a composer, it is always a pleasure to meet a kindred spirit likewise invested in storytelling and emotional connection, and I found John's previous work to be, in a word, beautiful. From the beginning, I loved his approach to our project, taking inspiration from my music (which he selected) but departing in new directions wholly his own. In these five arrangements from works inspired by scenes of Spanish and Peruvian life, I tried to brighten the music with colors newly offered in an orchestral palette. Harp Concerto, Op. 25 ALBERTO GINASTERA Born April 11, 1916, Buenos Aires Died June 25, 1983, Geneva Albert Ginastera composed his Harp Concerto over a number of years, and the story of its creation is complex. -
School Catalog, 1955-1956
Tu nPF m-n.- '^:\r p'' ^ IP*' / :i M'T The Philadelphia Conservatory of Music FOUNDED, 1S77 Aiahi School INCORPORATED, 18S4 Branch School 216 South Twentieth Street The Rittenhouse, 52 East Lancaster Ave. Philadelphia 3, Penna. Ardmore, Penna. Telephone, LOcust 7-1877 WiLLEM EzERMAN, President Allison R. Drake, Dean Maria Ezerman Drake, Director Catalogue 1955-1956 SEVENTY-NINTH SEASON Mary V. Hagerty Alice E. Stallman Secretary to Director Hendrika S. Jurrjens Assistant Secretaries "The best insurance against material losses is the education that develops inner resources." Olga Samaroff Stokowski THE PHILADELPHIA CONSERVATORY OF MUSIC The oldest chartered Music School in the State of Pennsylvania SEVENTY-NINTH SEASON While highly endowed institutions provide opportunities Not only to teach professional players, but also to start the for a free musical education to a limited number of out- musical training of children in the right way, to teach standing talents, the task of offering a thorough musical the layman to enjoy the art of music, to prepare capable training to the general public on a sane and sound basis teachers and give them a valuable musical background, cannot be neglected if music is to take its rightful place is the aim of The Philadelphia Conservatory of in the civic and national life of the United States. Music. DEGREES By virtue of the power granted to The Philadelphia Conservatory of Music in its charter, the Philadelphia Con- servatory is empowered by Article Two to "grant to its students diplomas of honorary testimonials in such form as it may designate, and grant and confer such honors, titles and degrees as are granted and conferred by any University in the United States for proficiency in music." The Philadelphia Conservatory of Music is a non-profit corporation. -
THE PHILADELPHIA ORCHESTRA Fortieth Season, 1939-1940
THE PHILADELPHIA ORCHESTRA Fortieth Season, 1939-1940 CARNEGIE HALL NEW YORK SEVENTH PROGRAM Tuesday Evening, February 13th. at 8:45 EUGENE ORMANDY Conducting ARTUR RUBINSTEIN, Pianist BEETHOVEN..............................................Grand Fugue, Op. 133 (Arranged for String Orchestra by Eugene Ormandy) SIBELIUS.......................... Symphony No. 7 (In One Movement) Adagio—Vivacissimo—Adagio Allegro molto moderato—Vivace Presto—Adagio—Largamento INTERMISSION CHOPIN . Concerto in F minor for Piano and Orchestra I. Maestoso II. Larghetto III, Allegro vivace DEBUSSY Symphonic Suite, “Printemps” Mr. Rubinstein uses the Steinway piano The STEINWAY is the Official Piano of the Philadelphia Orchestra VICTOR Records KKRL McDonald, Manager LOUIS A. MATTSON, NORRIS WEST, Assistant Manager« GIRARD TRUST COMPANY BUILDING, PHILADELPHIA NEW YORK DIVISION of the PHILADELPHIA ORCHESTRA ASSOCIATION ADVISORY BOARD Mrs. Kermit Roosevelt, Chairman Mrs. Sidney C. Borg Thomas I. Parkinson Mrs. Edward Eagan Adrian Van Sinderen Byrnes MacDonald Mme. Olga Samaroff Stokowski Mrs. Alexander H. McLanahan Mrs. Cornelius V. Whitney Mrs. Jean Walker, Secretary Bankers Trust Company, Treasurer Walter N. Thayer, 3rd, Counsel COMMITTEE Miss Julia A. Berwind Miss Alice Polk Mrs. Anthony J. Drexel Biddle, Jr. Mrs. T. Markoe Robertson Mrs. David Bruce Mrs. Nelson A. Rockefeller William Marshall Bullitt Archibald B. Roosevelt Robert Cresswell C. Alison Scully Mrs. Frederic Cromwell Mrs. George R. Siedenburg Franklin D’Olier Mrs. H. Nelson Slater Mrs. Livingston Farrand Theodore E. Steinway Mrs. Arthur A. Fowler Roger Straus Mrs. John Henry Hammond Mrs. Harold E. Talbott Mrs. Basil Harris Mrs. Walter N. Thayer, 3rd Mrs. Thomas Hitchcock, Jr. Edward M. M. Warburg Ernest Hutcheson Mrs. Harold H. Weekes George Le Boutillier Mrs. Henry J. -
Norman Dello Joio, Warren Benson, and Samuel Adler
Contributions to the Wind Ensemble Medium by Three Contemporary American Composers: Norman Dello Joio, Warren Benson, and Samuel Adler Mitchell Bryan Lutch A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2008 Program Authorized to Offer Degree: Music University of Washington Graduate School This is to certify that I have examined this copy of a doctoral dissertation by Mitchell Bryan Lutch and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made. Chair of the Supervisory Committee: _____________________________________________________ Timothy O. Salzman Reading Committee: _____________________________________________________ Thomas Collier _____________________________________________________ Timothy O. Salzman _____________________________________________________ Carole Terry Date: _____________________ In presenting this dissertation in partial fulfillment of the requirements for the doctoral degree at the University of Washington, I agree that the Library shall make its copies freely available for inspection. I further agree that extensive copying of the dissertation is allowable only for scholarly purposes, consistent with “fair use” as prescribed by the U.S. Copyright Law. Requests for copying or reproduction of this dissertation may be referred to ProQuest Information and Learning, 300 North ZeebRoad, Ann Arbor, MI 48106-1346, 1-800-521-0600, to whom the author has granted “the right to reproduce and sell (a) copies of the manuscript in microform and/or (b) printed copies of the manuscript made from microform.” Signature________________________ Date____________________________ University of Washington Abstract Contributions to the Wind Ensemble Medium by Three Contemporary American Composers: Norman Dello Joio, Warren Benson, and Samuel Adler Mitchell Bryan Lutch Chair of the Supervisory Committee: Professor Timothy O. -
Eugene Ormandy Oral History Collection Ms
Eugene Ormandy oral history collection Ms. Coll. 59 Finding aid prepared by Rayna Andrews. Last updated on April 09, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2017 February 8 Eugene Ormandy oral history collection Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 5 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 6 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 8 - Page 2 - Eugene Ormandy oral history collection Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Creator Ormandy, -
Regional Oral History Office University of California the Bancroft Library Berkeley, California
Regional Oral History Office University of California The Bancroft Library Berkeley, California Marcella DeCray AN ORAL HISTORY OF MARCELLA DECRAY Interviews conducted by Caroline Crawford in 2004-2005 Copyright © 2007 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Marcella DeCray, dated October 10, 2004. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.