DOCSLIB.ORG

Volume 24, Number 07 (July 1906) Winton J

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Volume 24, Number 07 (July 1906) Winton J Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1906 Volume 24, Number 07 (July 1906) Winton J. Baltzell 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 Baltzell, Winton J.. "Volume 24, Number 07 (July 1906)." , (1906). https://digitalcommons.gardner-webb.edu/etude/516 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]. JULY, 1906 7S A-5 ea THEODORE PHILADELPHIA THE ETUDE 413 CONTENTS Da i nty “THE ETUDE” • July, 1906 Flower f « f PIANO ORGAN GRADED EDITION FOR THE PIANO Pieces What Does the Layman HeaTSmSSt" 421 We expect to place this work on sale early And other pleasing in July, 1906. AND wSnilf; Because of Mrs. Riley’s well-known rep¬ NEWS Music for tiffs Z utation and prominence as a writer of verse, The Repertoire and Program particularly for children, we bespeak for her The Making of An Artist. II book a hearty welcome and believe it will ''W ' ESTEY PIANO COMPANY be received with unusual interest, especially LEB0R0. VT. o/tfelufusZ {%Ufa46 SOUTHERN BLVD..NY.CITY. by the teachers of music in schools. PIANO Mrs. Riley’s book is designed for use in Teachers’ Schumann’s Fantasy Pieces, Op. 12 the Grammar Schools, the work being plan¬ ned to extend through the entire eight grades. A short time ago we predicted that A Plea for Broad-Mindedness ‘ ' It is intended to provide for the child an THE value of a guarantee is the --- „.. the grac_ _.__ „ Charles E. Watt 427 value of the name and business course, be played by hand. Full par¬ “Yellow Jonquils” would attain an im¬ education in verse building and in the ap- larger kindred, and in sweetness, purity ticulars given on request. behind it. Is there any name in and power of tone, it will be found un¬ Edition mense sale. It is now entering on its the musical world that stands for more rivaled by those of other make and much Our Reed Organs 20th edition, and its popularity is grow¬ than Estey ? larger size. Its size, form and tone, for chapels are built with all the faith¬ One hundred specially selected stand¬ ing larger each day. The other pieces The best piano builders in the world when combined with an attractive price, now advanced for the education of the child fulness of the old days of substantiality. ard modern compositions, in all grades. in this list are also good sellers, and we in music; and in this work, music is used as use perfect material to produce the Estey make it altogether desirable. Write for They are sweet-toned, full-voiced and Piano. further information and price to the (Each number published separately.) 1 should like to have you know them. the basis for rhythmic measurement. desirable. Send for catalogue of Church Many of the rhythmic forms are given Estey Piano Co., New York Gty. Regular discounts given. A Piano Only 4 Feet High and Chapel styles or Household Organs. musical illustration by Mrs. Jessie L. Gaynor, The distinctive sweetness of Reed CORRECTLY FINGERED who has already set so many of Mrs. Riley's The smallest upright Piano on the The Estey Pipe Org an Yellow Jonquils. (Danse a la Gavotte) Organ tones is again beginning to be lyrics. market is by no means an insignificant The largest and best equipped Pipe CAREFULLY PHRASED Johanning $0. 50 appreciated. "If I could have but one proposition. It sings itself into the good Organ building plant in the world is in Four Hands. $0.60 Six Hands musical instrument," said a musical graces of many a household where the Brattleboro, Vermont, under the own¬ COMPLETELY REVISED Crimson Hollyhock. Intermezzo. Virtue critic recently, “ and if 1 were obliged Explanatory Notes on Oar Piano Music cosy quarters demand a small-sized ership of the Estey Organ Co. InMoonland. Intermezzo (two-step). Peck Home Notes. to choose between a piano and a reed piano. All the Estey virtues in small A Pipe Organ authority has recently To meet the requirements of both Forget me*not. Johanning , Recital Programs. compass. organ of equal cost, 1 would select the said: “ It is better to contract for an organ, and it would be an Estey too." teacher and pupil. Valse Piak. Johanning , Organ of medium capacity and have it Frivolity. A. la Valse. Stone , Estey Player-Piano of the best quality, than to install a large We make to-day for most discrimi¬ Iris. Caprice. Trevelyan nating purchasers, the same sort of Reed • ^ll® ,EsleY 5eIf-playing mechanism „ instrument of a cheaper grade." Normandie. Old French Dance. Fox , fifiuser installed m the upright Piano we make. organs that long ago made the name The Water Lily (Melody in F). Gottschalk Speaking of an Estey Organ, S. fc-st»y a world-wide household word. CLAYTON F. SUMMY CO. the Estey Cabinet~ 1' iet GrarGrand, ' an instrument Archer Gibson, Organist and Chou- GRADED Edelweiss. Intermezzo. Johanning , '’arch, Op. 51, No. 1 ' with the fullest, richest and sweetest Moon Flowers. A la Gavotte. Stone . Master of the Brick Presbyterian Church, Reform Spelling PUBLISHERS tone. New York City, said, “ No test can Sweet Vlsions(Morceau Poetique).Phelps . Of the player mechanism it need only exceed the possibilities of the Estey There's a new way to spell “Honesty.” EDITION Valse Ballet. Tracy . 220 Wabash Ave., Just put H-O-N in front of one of the L.F. Daffodil Dance. McLellan . be said that you would expect that a Pneumatic action, and it is possible to oldest and most reliable names in the house which had studied pneumatics play orchestral music with such an organ Violin and Piano. music world. Never mind if you have for more than fifty years would know as this, with such crisp and clean phras¬ IS Dance of the Lilies. Hartmann . got an extra “e”; let this stand for the more about a player-piano, the principle ing as is impossible on the average organ, Dainty Japonica. Petite Valse. Hayes . ot which is altogether pneumatic, than even with electric action." extra faithfulness which has always ATTRACTIVE On the Campus. Novelette. Davenport . characterized the products of this house. LHy of the Valley. Mazurka Facile. firms which had been in the business Better Organs can't be built than INTERESTING perhaps not more than a twelve-month. Estey Organs. Write for particulars to Johanning. As to Price White Lilacs. Johanning. The Estey Player-Piano is an Estey Brattleboro, Vermont. INSTRUCTIVE The Estey Piano—but stop. First Colonial Days. Intermezzo. Geibel . product, and that is everything. Write Automatic Organs for particulars to the Estey Co., at street consider the quality of the instrument constantly used by more than 1000 Brilliant Tiger Lily. Galop de Concert. address above, New York Gty. The music rooms in many homes are that the name ESTEY demands, Sargent . now being built with reference to Pipe tone, finish and durability all must be competent teachers with PERFECT Four Hands. The Estey Tiny Grand Piano Organs which can be operated auto¬ beyond criticism before an instrument SATISFACTION. Golden Rays (Rayon d’Or). Valse Bril- matically, that is, self-playing Organs. can bear the Estey name. lame. Wache . This is the smallest Grand Piano All the virtues of the greatest organ- Foui Hands. $0.70 Six Hands. Now as to price, the Estey represents manufactured by any maker; it is only 5 building plant in the world may be found Morning Glories. Idilio. Johanning . the maximum of quality at the minimum NEW PUBLICATIONS feet long, and possesses all the well- embodied in an Estey Automatic Self- Good Night. Serenade Espagnole. Peters : ot cost. Send for catalogue of styles THEMATIC CATALOGUES FOR known good qualities of the Estey make. playmg Organ for $2,000. In addi¬ Purple Pansies. A Dainty Measuce. Hayes . and pnees to either the Piano or Organ TEACHERS SENT UPON ‘DAYBREAK” Adapted for use in small apartments, it tion to the self-playing feature, it can, of Lotus Flower. Gavotte. Stone . company at addresses above. REQUEST Elf Dance (Elfin Tanze). Crosby . By MARIE E. KEATING The Sprites' Revelry. Dance Character¬ istic. Bailey . OUR TEACHERS’SAMPLE VOLUMES Briar Rose. Tdylle. Bailey . A COMPLETE LISZT REPERTOIRE IN ONE VOLUME MAKE SELECTIONS EASY AND HANDY They should be on your Dealer’s Counter FRANZ LISZT ALBUM IF NOT THERE PLEASE WRITE A COLLECTIONHON OF CELEBRATED ORICinai,ORIGINAL WORKS 0 AND MENTION THE NAME OF YOUR DEALER AND TRANSCRIPTIONS FOR THE PIANOmo Price, Si.00 poPu1a^°sno?f4e great Gaining in favor as are the works of Liszt this volume containing all of his favorite works under one EO, FEIST fl!s» “arms,0 NEW YORK cover cannot but be received with enthusiasm, Publisher of ANTHEMS FOR MIXED VOICES — presser, publi,er, izi^r^r^r—smm . ‘ MANSFELDT TECHNIC ^ISleTth e GLORious::::::::: : : \l Positively the greatest work of its kind ever conceived. 1 By Tod B. Galloway PRICK, TWO DOLLARS AND FIFTY CENTS. Kite FRIENDSHIP SONGS FLEXIBLE CLOTH BINDINd. MONEY BACK IF NOT SYLVIA” ALL THAT IS CLAIMED FOR IT.
Load more

Recommended publications
  • The Year's Music
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c.
    [Show full text]
  • NUI MAYNOOTH Ûllscôst La Ttéiîéann Mâ Üuad Charles Villiers Stanford’S Preludes for Piano Op.163 and Op.179: a Musicological Retrospective
    NUI MAYNOOTH Ûllscôst la ttÉiîéann Mâ Üuad Charles Villiers Stanford’s Preludes for Piano op.163 and op.179: A Musicological Retrospective (3 Volumes) Volume 1 Adèle Commins Thesis Submitted to the National University of Ireland, Maynooth for the degree of Doctor of Philosophy Department of Music National University of Ireland, Maynooth Maynooth Co. Kildare 2012 Head of Department: Professor Fiona M. Palmer Supervisors: Dr Lorraine Byrne Bodley & Dr Patrick F. Devine Acknowledgements I would like to express my appreciation to a number of people who have helped me throughout my doctoral studies. Firstly, I would like to express my gratitude and appreciation to my supervisors and mentors, Dr Lorraine Byrne Bodley and Dr Patrick Devine, for their guidance, insight, advice, criticism and commitment over the course of my doctoral studies. They enabled me to develop my ideas and bring the project to completion. I am grateful to Professor Fiona Palmer and to Professor Gerard Gillen who encouraged and supported my studies during both my undergraduate and postgraduate studies in the Music Department at NUI Maynooth. It was Professor Gillen who introduced me to Stanford and his music, and for this, I am very grateful. I am grateful to the staff in many libraries and archives for assisting me with my many queries and furnishing me with research materials. In particular, the Stanford Collection at the Robinson Library, Newcastle University has been an invaluable resource during this research project and I would like to thank Melanie Wood, Elaine Archbold and Alan Callender and all the staff at the Robinson Library, for all of their help and for granting me access to the vast Stanford collection.
    [Show full text]
  • Linley Sambourne's Diary 1889
    LINLEY SAMBOURNE'S DIARY 1889 Notes on preliminary pages: (Red ink: Store ticket for 1889 61061) Candles for reading lamp, Vegetable wax S.S.6's 3/9 per packet. No good, sperm wanted. Miss Gill, 2 King's Road, Brownswood Park, N. George Finlay Esq, General Manager's Office, L & NW Rly, Euston. G.M.Rich Esq, Station Master, Euston. Fred Dougall Esq, The Highland Railway, General Manager's Office, Inverness. Models: Miss Etty Pettigrew, 7 Musgrave Crescent, Walham Green Miss Lily Pettigrew. Grove, 174 Brompton Road, S.W. Mrs Stephenson, 34 Jervis Road, Lillie Road, West Kensington S.W. Meg Dartrey, 109 Eaton Terrace S.W. Miss L Price, 2 Goodson Road, Lillie road, West Brompton S.W. Nellie Hall, 3 Dartmouth Road, Forest Hill, S.W. Tall & slight, good figure. Adah Fletcher, 18 Goldsmith Residences, Goldsmith Road, Peckham S.E. (Crossed out in red ink.) No good (added in red ink.) (Red ink: Abbey's housekeeper, Martha Keevil.) Hamilton Bruce, 4 Eccleston St, Chester Sq. Archibald McGregor, 126 Campden Houses, Pell St, Kensington. P.C. 305. F. Weldon, 108 Victoria Street S.W. Charles A Howell, 91 Southampton Row, Russell Sq, next Bedford Hotel W.C. E.Coleman Esq, Veterinary Surgeon, Tooting. Iodine charges. Caron D'Ache, 59 Rue de la Tour, Passy. Address for boots in Paris: Coquillot, 10 Rue de la Bourse, Paris. Book on South Seas from Curacoa Wiseman: A ride through the disturbed districts of New Zealand, together with some account of the South Sea Islands, being reflections from the journals & letters of Lieut the Hon Herbert Meade R.N.
    [Show full text]
  • N°14 an Der Quelle: Einblicke in Das Institut Für Musikwissenschaft Weimar-Jena | Die Seele Auf Der Zunge: Zu Gast in Prof. J
    N°14 Das Magazin der Hochschule iszt Einblicke in das Institut für Musikwissenschaft Weimar-Jena L N°14 An der Quelle: | Die Seele auf der Zunge: Zu Gast in Prof. Jörg Brückners Hornklasse | Auf Liebesfüßen: Wie klingt die Oboe d‘amore? Großer Sprung: Cellistin Camille Thomas unterschrieb einen Exklusivvertrag bei der Deutschen Grammophon Spielzeit 2018/19 Premierenauswahl Musiktheater Cabaret Musical von John Kander 28. September 2018 Großes Haus Gera Der Vogelhändler Operette von Carl Zeller 30. September 2018 Großes Haus Altenburg Weiße Rose Kammeroper von Udo Zimmermann 4. November 2018 · Heizhaus Altenburg Foto: Ronny Ristok Die verkaufte Braut Komische Oper von Bedřich Smetana 19. Oktober 2018 Großes Haus Gera Die Entführung aus dem Serail Singspiel von Wolfgang Amadeus Mozart 11. November 2018 Großes Haus Altenburg Hoffmanns Erzählungen Fantastische Oper von Jacques Offenbach 30. November 2018 Großes Haus Gera Oedipe Oper von George Enescu 24. Februar 2019 Großes Haus Altenburg Die Passagierin Oper von Mieczysław Weinberg 8. März 2019 Großes Haus Gera Geliebtes Klärchen Collage von Kay Kuntze 7. April 2019 Großes Haus Altenburg Untergang der Titanic Große Oper von Wilhelm Dieter Siebert 28. Juni 2019 Landestheater Altenburg Kartentelefon 0365 8279105 Theater&Philharmonie Thüringen 2 Liszt - Das Magazin der Hochschule 2018www.tpthueringen.de Liebe Leserinnen und Leser, seit ihren frühesten Anfängen hat die Musik, mehr als alle anderen Das Institut gilt in seiner heutigen Ausrichtung als Modell für eine Künste, eine intime Nähe zur Wissenschaft gehabt. Lust zu Theo- zukunftsorientierte Musikwissenschaft. Neben dem für alle Musik- riebildung, Formelhaftigkeit, Gesetzlichkeit und Wiederholbarkeit berufe unverzichtbaren europäischen „Kerngeschäft“ (Alte Musik, gehören zum Wesen der Musik wie zur Wissenschaft.
    [Show full text]
  • Songs by Title
    Songs by Title Title Artist Title Artist #1 Goldfrapp (Medley) Can't Help Falling Elvis Presley John Legend In Love Nelly (Medley) It's Now Or Never Elvis Presley Pharrell Ft Kanye West (Medley) One Night Elvis Presley Skye Sweetnam (Medley) Rock & Roll Mike Denver Skye Sweetnam Christmas Tinchy Stryder Ft N Dubz (Medley) Such A Night Elvis Presley #1 Crush Garbage (Medley) Surrender Elvis Presley #1 Enemy Chipmunks Ft Daisy Dares (Medley) Suspicion Elvis Presley You (Medley) Teddy Bear Elvis Presley Daisy Dares You & (Olivia) Lost And Turned Whispers Chipmunk Out #1 Spot (TH) Ludacris (You Gotta) Fight For Your Richard Cheese #9 Dream John Lennon Right (To Party) & All That Jazz Catherine Zeta Jones +1 (Workout Mix) Martin Solveig & Sam White & Get Away Esquires 007 (Shanty Town) Desmond Dekker & I Ciara 03 Bonnie & Clyde Jay Z Ft Beyonce & I Am Telling You Im Not Jennifer Hudson Going 1 3 Dog Night & I Love Her Beatles Backstreet Boys & I Love You So Elvis Presley Chorus Line Hirley Bassey Creed Perry Como Faith Hill & If I Had Teddy Pendergrass HearSay & It Stoned Me Van Morrison Mary J Blige Ft U2 & Our Feelings Babyface Metallica & She Said Lucas Prata Tammy Wynette Ft George Jones & She Was Talking Heads Tyrese & So It Goes Billy Joel U2 & Still Reba McEntire U2 Ft Mary J Blige & The Angels Sing Barry Manilow 1 & 1 Robert Miles & The Beat Goes On Whispers 1 000 Times A Day Patty Loveless & The Cradle Will Rock Van Halen 1 2 I Love You Clay Walker & The Crowd Goes Wild Mark Wills 1 2 Step Ciara Ft Missy Elliott & The Grass Wont Pay
    [Show full text]
  • Melbourne Suburb of Northcote
    ON STAGE The Autumn 2012 journal of Vol.13 No.2 ‘By Gosh, it’s pleasant entertainment’ Frank Van Straten, Ian Smith and the CATHS Research Group relive good times at the Plaza Theatre, Northcote. ‘ y Gosh, it’s pleasant entertainment’, equipment. It’s a building that does not give along the way, its management was probably wrote Frank Doherty in The Argus up its secrets easily. more often living a nightmare on Elm Street. Bin January 1952. It was an apt Nevertheless it stands as a reminder The Plaza was the dream of Mr Ludbrook summation of the variety fare offered for 10 of one man’s determination to run an Owen Menck, who owned it to the end. One years at the Plaza Theatre in the northern independent cinema in the face of powerful of his partners in the variety venture later Melbourne suburb of Northcote. opposition, and then boldly break with the described him as ‘a little elderly gentleman The shell of the old theatre still stands on past and turn to live variety shows. It was about to expand his horse breeding interests the west side of bustling High Street, on the a unique and quixotic venture for 1950s and invest in show business’. Mr Menck was corner of Elm Street. It’s a time-worn façade, Melbourne, but it survived for as long as consistent about his twin interests. Twenty but distinctive; the Art Deco tower now a many theatres with better pedigrees and years earlier, when he opened the Plaza as a convenient perch for telecommunication richer backers.
    [Show full text]
  • Digital Grand Series
    DIGITAL GRAND SERIES RG-3M/RG-3 RG-7-R KR117M-R KR115M-R/KR115-R KR111 HP109 Roland Corporation U.S. All specifications and appearances are subject to change without notice. 5100 S.Eastern Avenue P.O BOX 910921 All trademarks used in this catalog are the property of their respective companies. Los Angeles, CA 90091-0921 Phone: (323) 890.3700 Fax: (323) 890.3701 Visit us online at www.RolandUS.com Printed in Japan Sep. '07 RAM-4229 E-3 GR-UPR-P The Pinnacle of Elegance and Quality … Roland’s Digital Grand Series Elegance, expression, and emotion characterize the Roland Digital Grand piano experience. From casual home-entertainment gatherings to public performances, Roland instruments represent the pinnacle in quality design, sound, touch, expressiveness, and functionality. Roland grand pianos cover a broad universe. Treat your eyes and ears to Roland — the very best of the best. RG-7-R Authentic weighted touch that’s a dream to play Elegant, High-Gloss Cabinetry, Gorgeous Piano Sound, First-Class Quality Inside and Out DESIGN TOUCH The stately presence and Choose a design that suits PHA II Keyboard that consists of base- and surface-material layers, and elegant ambience of a grand piano your purpose and space (Progressive Hammer Action II) they’re designed to absorb moisture, ensuring a secure, slip-proof feel that your fingers will love. Our piano cabinetry is carefully polished by expertly skilled From space saving to stately, Roland’s digital piano lineup The RG and KR-Grand series*1 share the PHA II keyboard in *1 KR111, RG-7-PW, RG-7-PM, and HP109 are not available with Ivory Feel Keyboard.
    [Show full text]
  • Mechanical Instruments and Phonography: the Recording Angel of Historiography”, Radical Musicology, No Prelo
    Silva, João, “Mechanical instruments and phonography: The Recording Angel of historiography”, Radical Musicology, no prelo. Mechanical instruments and phonography: The Recording Angel of historiography This article strives to examine the established historical narrative concerning music recording. For that purpose it will concentrate on the phonographic era of acoustic recording (from 1877 to the late 1920s), a period when several competing technologies for capturing and registering sound and music were being incorporated in everyday life. Moreover, it will analyse the significant chronological overlap of analogue and digital media and processes of recording, thus adding a layer of complexity to the current historical narratives regarding that activity. In order to address that set of events, this work will mainly recur to the work of both Walter Benjamin and Slavoj Žižek. Benjamin’s insight as an author that bore witness to and analysed the processes of commodification that were operating in the period in which this article concerns is essential in a discussion that focuses on aspects such as modernity, technology, and history. Furthermore, his work on history presents a space in which to address and critique the notion of historicism as an operation that attempts to impose a narrative continuity to the fragmentary categories of existence within modernity, a stance this article will develop when analysing the historiography of music and sound recording. The work of Žižek is especially insightful in tracing a distinction between historicism
    [Show full text]
  • Macfarren 2 660306-07 Bk Macfarren 16/08/2011 14:22 Page 16
    660306-07 bk Macfarren 2_660306-07 bk Macfarren 16/08/2011 14:22 Page 16 2 CDs George Alexander MACFARREN Robin Hood Spence • Jordan • Ashman • Mackenzie-Wicks Hulbert • Molloy • Hurst • Knox John Powell Singers Victorian Opera Chorus and Orchestra 8.660306-07 16 Ronald Corp 660306-07 bk Macfarren 2_660306-07 bk Macfarren 16/08/2011 14:22 Page 2 George Alexander MACFARREN (1813-1887) Robin Hood A romantic English Opera in three acts Libretto by John Oxenford (1812-1877) Performing Edition by Valerie Langfield Robin Hood (in disguise as Locksley) . Nicky Spence, Tenor Sir Reginald d’Bracy (Sheriff of Nottingham) . George Hulbert, Baritone Hugo (Sompnour, Collector of Abbey dues) . Louis Hurst, Bass Allan-a-Dale (a young peasant) . Andrew Mackenzie-Wicks, Tenor Little John John Molloy, Bass (Outlaws) Much, the Miller’s son} { Alex Knox, Baritone Marian (daughter of Sheriff) . Kay Jordan, Soprano Alice (her attendant) . Magdalen Ashman, Mezzo-soprano Villagers, Citizens and Greenwood men . John Powell Singers and Victorian Opera Chorus Knighted at Windsor Castle on the same day in 1883 George Macfarren was knighted for his services to English music at the same time as Arthur Sullivan, composer (another Royal Academy of Music alumnus), and George Grove, first director of the Victorian Opera Orchestra Royal College of Music and Grove!s Musical Dictionary founder. Ronald Corp Musical Director: Ronald Corp Assistant Conductor: Duncan Ward • Chorus-masters: Marc Hall and John Powell Executive Producer: Raymond J Walker • Research: David Chandler
    [Show full text]
  • Charles Villiers Stanford's Experiences with and Contributions
    Charles Villiers Stanford’s Experiences with and contributions to the solo piano repertoire Adèle Commins Charles Villiers Stanford (1852-1924) has long been considered as one of the leaders of the English Musical Renaissance on account of his work as composer, conductor and pedagogue. In his earlier years he rose to fame as a piano soloist, having been introduced to the instrument at a very young age. It is no surprise then that his first attempts at composition included a march for piano in i860.1 The piano continued to play an important role in Stanford’s compositional career and his last piano work, Three Fancies, is dated 1923. With over thirty works for the instrument, not counting his piano duets, Stanford’s piano pieces can be broadly placed in three categories: (i) piano miniatures or character pieces which are in the tradition of salon or domestic music; (ii) works which have a pedagogical function; and (iii) works which are written in a more virtuosic vein. In each of these categories many of the works remain unpublished. In most cases the piano scores are not available for purchase and this has hindered performances after his death.2 The repertoire of pianists should not be limited to the music of European composers and publishers, like performers, are responsible for the exposure a composer’s works receives. New editions of Stanford’s piano music need to be created and published in order to raise awareness of the richness of Stanford’s contribution to piano literature. While there has been renewed interest in the composer’s life and music by musicologists and performers — primarily initiated by the recent Stanford biographies in 2002 by Dibble and Rodmell — the 1 Originally termed Opus 1 in Stanford’s sketch book it was reproduced in Anon., ‘Charles Villiers Stanford’, The Musical Times and Singing Class Circular, 39 670 (1898), 785-793 (p.
    [Show full text]
  • Bruno Walter (Ca
    [To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. 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 and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒
    [Show full text]
  • Berg's Worlds
    Copyrighted Material Berg’s Worlds CHRISTOPHER HAILEY Vienna is not the product of successive ages but a layered composite of its accumulated pasts. Geography has made this place a natural crossroads, a point of cultural convergence for an array of political, economic, religious, and ethnic tributaries. By the mid-nineteenth century the city’s physical appearance and cultural characteristics, its customs and conventions, its art, architecture, and literature presented a collage of disparate historical elements. Gothic fervor and Renaissance pomp sternly held their ground against flights of rococo whimsy, and the hedonistic theatricality of the Catholic Baroque took the pious folk culture from Austria’s alpine provinces in worldly embrace. Legends of twice-repelled Ottoman invasion, dreams of Holy Roman glories, scars of ravaging pestilence and religious perse- cution, and the echoes of a glittering congress that gave birth to the post-Napoleonic age lingered on amid the smug comforts of Biedermeier domesticity. The city’s medieval walls had given way to a broad, tree-lined boulevard, the Ringstrasse, whose eclectic gallery of historical styles was not so much a product of nineteenth-century historicist fantasy as the styl- ized expression of Vienna’s multiple temporalities. To be sure, the regulation of the Danube in the 1870s had channeled and accelerated its flow and introduced an element of human agency, just as the economic boom of the Gründerzeit had introduced opportunities and perspectives that instilled in Vienna’s citizens a new sense of physical and social mobility. But on the whole, the Vienna that emerged from the nineteenth century lacked the sense of open-ended promise that charac- terized the civic identities of midwestern American cities like Chicago or St.
    [Show full text]