Boston Symphony Orchestra Is Exceptional Beauty, Depth and Richness of Tone
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Mediation Is Provided by Our Management Staff
What We Do. By arrangement with Jack Price, Price Rubin & Partners has been a leader in the Artist Management, Concert Management, Music, Entertainment and Performing Arts Industries since 1984 providing direct marketing ser- vices to emerging and highly-credentialed classical, jazz, dance, cross-over, country, western, folk, new-age and film artists. Our roster includes some of the most-accomplished and awarded artists performing today. More than just traditional artist representation services, Premium Management delivers super-targeted direct marketing to concert presenters and performing arts organizations who engage performing artists. Our marketing staff makes approximately 3500-4000 calls each month to decision-makers who buy talent. Our clients receive highly-individ- ualized targeted marketing that focuses on branding and getting them much-needed considering from performing arts presenters who will be engaging artists in the future. When interest is expressed our managers take over the lead and work to establish a relationship between the presenter and artist. Contract mediation is provided by our management staff. We also offer various marketing services as well as patron marketing, public relations, adver- tising, fundraising, audience development, general artist management, PRPRadioOne and Price Rubin Music Television. Founder Jack Price. The indomitable Jack Price started Price Rubin & Partners in 1984 in response to his own career as an internationally renowned and celebrated concert pianist. Jack took on the role as manager -
220 Central Park South Garage Environmental
220 Central Park South Garage Environmental Assessment Statement ULURP #: 170249ZSM, N170250ZCM CEQR #: 16DCP034M Prepared For: NYC Department of City Planning Prepared on Behalf of: VNO 225 West 58th Street LLC Prepared by: Philip Habib & Associates June 16, 2017 220 CENTRAL PARK SOUTH GARAGE ENVIRONMENTAL ASSESSMENT STATEMENT TABLE OF CONTENTS EAS Form……................................................................................................Form Attachment A......................................................................Project Description Attachment B..............................................Supplemental Screening Analyses Appendix I..................................................Residential Growth Parking Study Appendix II.................................................LPC Environmental Review Letter EAS Form EAS FULL FORM PAGE 1 City Environmental Quality Review ENVIRONMENTAL ASSESSMENT STATEMENT (EAS) FULL FORM Please fill out and submit to the appropriate agency (see instructions) Part I: GENERAL INFORMATION PROJECT NAME 220 Central Park South Parking Garage EAS 1. Reference Numbers CEQR REFERENCE NUMBER (to be assigned by lead agency) BSA REFERENCE NUMBER (if applicable) 16DCP034M ULURP REFERENCE NUMBER (if applicable) OTHER REFERENCE NUMBER(S) (if applicable) 170249ZSM, N170250ZCM (e.g., legislative intro, CAPA) 2a. Lead Agency Information 2b. Applicant Information NAME OF LEAD AGENCY NAME OF APPLICANT New York City Department of City Planning VNO 225 West 58th Street LLC NAME OF LEAD AGENCY CONTACT PERSON -
Chapter Three the Philadelphia Orchestra Stokowski Inherited 15
<The "(PhiCacCeCpfiia Sound": The Formative Years (1912-1920) Candis nUreC^eCcf The "Philadelphia Sound": The Formative Years (1912-1920) HONORS THESIS Presented in Partial Fulfillment Of the Requirements For the UNIVERSITY OF NORTH TEXAS HONORS PROGRAM By Candis Threlkeld Denton, Texas April 1999 CamJm (J- <rSuJLJa) Student APfljROVED: acuity Advisor a-/ C Cjjy, Honors Director The "Philadelphia Sound": The Formative Years (1912-1920) HONORS THESIS Presented in Partial Fulfillment Of the Requirements For the UNIVERSITY OF NORTH TEXAS HONORS PROGRAM By Candis Threlkeld Denton, Texas April 1999 Student APPROVED: Faculty Advisor • n juts • Honors Director Acknowledgements This paper would not have been possible without the help of the following people, who aided me immensely while I was researching in Philadelphia: JoAnne Barry - archivist with the Philadelphia Orchestra Marjorie Hassen - curator of the Stokowski Collection, Otto E. Albrecht Music Library, University of Pennsylvania John Pollock and the Student Staff of the Ross Reading Room - Van Pelt Library, University of Pennsylvania Paul Sadedov - Music Librarian at the Free Library of Philadelphia Members of the Philadelphia Orchestra - who were a daily inspiration to me (I would particularly like to thank those members who took the time out to talk with me: Luis Biava, Booker Rowe, Richard Woodhams, David Bilger, Elizabeth Starr, and Pete Smith.) Phil - the security guard at the Academy who always helped me find JoAnne Barry, and who always greeted "Texas" with such a wonderful smile in the mornings Stephanie Wilson - one of my dearest friends who let me stay at her house during the second week of my trip - and who gave me great reed advice before my senior recital Janet Miller, Laura Lucas, and Darryl - Stephanie's housemates, who always made me always feel welcome I would also like to thank the following people at the University of North Texas for all of their assistance: Maestro Anshel Brusilow - director of orchestras and my faculty advisor Dr. -
Philharmonic Au Dito R 1 U M
LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living. -
Carnegie Hall
CARNEGIE HALL 136-2-1E-43 ALFRED SCOTT, Publisher. 156 Fifth Avenue. New York &njoy these supreme moments oj music again ancl again in pour own home, on VICTORS RECORDS Hear these brilliant interpretations of ARTUR RUBINSTEIN TSCHAIKOWSKY -CONCERTO NO. 1, IN B FLAT MINOR, Op. 23. With the London Symphony Orchestra, John Barbirolli, conductor. Album DM-180 $4.50* GRIEG—CONCERTO IN A MINOR, Op. 16. With the Philadelphia Orchestra, Eugene Ormandy, conductor. Album DM-900 $3.50* BRAHMS — INTERMEZZI AND RHAPSODIES. Album M-893 $4.50* SCHUBERT — TRIO NO. 1, IN B FLAT MAJOR, Op. 99. With Jascha Heifetz, violinist and Emanuel Feuermann, ’cellist. Album DM-923 $4.50* CHOPIN—CONCERTO NO. 1, IN E MINOR, Op. 11 With the London Symphony Orchestra, John Barbirolli, conductor. Album DM-418 $4.50* CHOPIN — MAZURKAS (complete in 3 volumes) Album M-626, Vol. 1 $5.50* Album M-656, Vol. 2 $5.50" Album M-691, Vol. 3 $4.50* •Suggested list prices exclusive of excise tax. Listen to the Victor Red Seal Records programs on Station WEAR at 11:15 P.M., Monday through Friday and Station WQXR at 10 to 10:30 P.M., Monday, Wednesday and Friday. Keep Going With Music • Buy War Bonds Every Pay Day The world's greatest artists are on Victor Records Carnegie Hall Program BUY WAR BONDS AND STAMPS 9 it heard If you have a piano which you would care to donate for the duration of the War kindly communicate with Carnegie Hall Recreation Unit for men of the United Nations, Studio 603 Carnegie Hall. -
Toscanini VII, 1937-1942
Toscanini VII, 1937-1942: NBC, London, Netherlands, Lucerne, Buenos Aires, Philadelphia We now return to our regularly scheduled program, and with it will come my first detailed analyses of Toscanini’s style in various music because, for once, we have a number of complete performances by alternate orchestras to compare. This is paramount because it shows quite clear- ly that, although he had a uniform approach to music and insisted on both technical perfection and emotional commitment from his orchestras, he did not, as Stokowski or Furtwängler did, impose a specific sound on his orchestras. Although he insisted on uniform bowing in the case of the Philadelphia Orchestra, for instance, one can still discern the classic Philadelphia Orchestra sound, despite its being “neatened up” to meet his standards. In the case of the BBC Symphony, for instance, the sound he elicited from them was not far removed from the sound that Adrian Boult got out of them, in part because Boult himself preferred a lean, clean sound as did Tosca- nini. We shall also see that, for better or worse, the various guest conductors of the NBC Sym- phony Orchestra did not get vastly improved sound result out of them, not even that wizard of orchestral sound, Leopold Stokowki, because the sound profile of the orchestra was neither warm in timbre nor fluid in phrasing. Toscanini’s agreement to come back to New York to head an orchestra created (pretty much) for him is still shrouded in mystery. All we know for certain is that Samuel Chotzinoff, representing David Sarnoff and RCA, went to see him in Italy and made him the offer, and that he first turned it down. -
The Phiiharmonic-Symphony Society 1842 of New York Consolidated 1928
THE PHIIHARMONIC-SYMPHONY SOCIETY 1842 OF NEW YORK CONSOLIDATED 1928 1952 ONE HUNDRED ELEVENTH SEASON 1953 Musical Director: DIMITRI MITROPOULOS Guest Conductors: BRUNO WALTER, GEORGE SZELL, GUIDO CANTELLI Associate Conductor: FRANCO AUTORI For Young People’s Concerts: IGOR BUKETOFF CARNEGIE HALL 5176th Concert SUNDAY AFTERNOON, APRIL 19, 1953, at 2:30 Under the Direction of DIMITRI MITROPOULOS Assisting Artist: ARTUR RUBINSTEIN, Pianist FRANCK-PIERNE Prelude, Chorale and Fugue SCRIABIN The Poem of Ecstasy, Opus 54 Intermission SAINT-SAËNS Concerto for Piano and Orchestra, No. 2, G minor, Opus 22 I. Andante sostenuto II. Allegretto scherzando III. Presto Artur Rubinstein FRANCK Symphonic Variations for Piano and Orchestra Artur Rubinstein (Mr. Rubinstein plays the Steinway Piano) ARTHUR JUDSON, BRUNO ZIRATO, Managers THE STEINWAY is the Official Piano of The Philharmonic-Symphony Society COLUMBIA AND VICTOR RECORDS THE PHILHARMONIC-SYMPHONY SOCIETY OF NEW YORK BOARD OF DIRECTORS •Floyd G. Blair........ ........President •Mrs. Lytle Hull... Vice-President •Mrs. John T. Pratt Vice-President ♦Ralph F. Colin Vice-President •Paul G. Pennoyer Vice-President ♦David M. Keiser Treasurer •William Rosenwald Assistant Treasurer •Parker McCollester Secretary •Arthur Judson Executive Secretary Arthur A. Ballantine Arthur A. Houghton, Jr. Mrs. William C. Breed Mrs. Arthur Lehman Chester Burden Mrs. Henry R. Luce •Mrs. Elbridge Gerry Chadwick David H. McAlpin Henry E. Coe Richard E. Myers Pierpont V. Davis William S. Paley Maitland A. Edey •Francis T. P. Plimpton Nevil Ford Mrs. David Rockefeller Mr. J. Peter Grace, Jr. Mrs. George H. Shaw G. Lauder Greenway Spyros P. Skouras •Mrs. Charles S. Guggenheimer •Mrs. Frederick T. Steinway •William R. -
Manhattan 2016 Mid-Year Sales Report by Ariel Property Advisors | Released July 2016
MANHATTan 2016 Mid-Year SaleS REPORT by Ariel Property Advisors | Released July 2016 Join Our Network: e-mail [email protected] or visit arielpa.nyc 212.544.9500 I arielpa.nyc 122 East 42nd Street, Suite 2405, New York NY 10168 MANHATTan 2016 Mid-Year SaleS REPORT Dear Friends, 2016 Mid-Year SaleS REPORT From the continuation of low interest rates to the Brexit, the first half of 2016 has seen some remarkable economic events that have been having various effects on the Manhattan real estate market. Manhattan investment property sales saw a pullback in terms of dollar volume and, in a more pronounced way, transaction volume during 1H16, but several fac- Dollar Volume Transaction Volume Property Volume tors are contributing to a greater sense of stability in the market place. In 1H16, Manhattan saw 304 transactions consisting of 361 properties totaling approxi- $19.3 304 361 mately $19.35 billion in gross consideration in 1H16. The previous six months of 2H15, which saw 345 transactions for 477 properties with an aggregate dollar volume of $22.29 BILLION billion, capped off a banner year that included the $5.5 billion sale of Stuyvesant Town / Pe- 13% decrease 11% decrease 24% decrease ter Cooper Village. By excluding this outlier transaction from the aggregate dollar volume, 1H16 figures represent a 15% increase in total dollar volume compared to 2H15. Moreover, compared compared compared 1H16 dollar volume figures are well above the dollar volume seen in 1H14. to 2H 2015 to 2H 2015 to 2H 2015 Fewer transactions are taking place—the 1H16’s 304 sales is the lowest number of trans- actions to take place since 1H13—but properties that are selling demonstrate that strong demand remains for quality product. -
The Harlingen Auditorium and Harlingen Concert Association 51 Years Young – and the Beat Goes on Norman Rozeff, November 2006 (Revised 12/07, 2/11)
The Harlingen Auditorium and Harlingen Concert Association 51 Years Young – And the Beat Goes On Norman Rozeff, November 2006 (revised 12/07, 2/11) Civic leaders and the city fathers recognized early on that a sizeable auditorium capable of hosting name attractions would be an important asset to the city. In April 1926 even before such an auditorium was a reality Mayor Ewing had approached the Southwest Chautauqua Organization about bringing its major performers to the city. It had toured such stalwarts as the violinist Efrem Zimbalist, Polish pianist Ignacy Jan Paderewski, and lecturer Herbert Hoover. It is in 1927 that the Harlingen Municipal Auditorium, 1114 Fair Park Blvd., is approved for construction at a cost of $125,000. Its site is where the annual Valley Mid-Winter ag- ricultural fairs are held, and it is expected to be utilized as part of the fair activities. It is completed before mid-1928 and seats 1,800. The Hurricane of 1933 causes extensive to the auditorium, so it is extensively renovated. Reopened in late 1935, a new cornerstone dated 1936 is placed in it. The entrance offers a art deco façade. The interior is also of art deco design and has a state of the art stage. Reconfigured, it then seats over 2,200. The city government people who approved the expenditures were: Mayor Sam Botts; com- missioners J.J.Burk, George Waters, Neil Madeley, Dr. E.A. Davis, and H.C. Ware. The architect was Stanley Bliss with the Ramsey Brothers doing the contracting. Since the year 1928 when Harlingen was first blessed with one of the finest civic audito- riums in the Lower Rio Grande Valley, the community has always enticed topnotch en- tertainment. -
Rodin Studios Building, Built in 1916-17, Was Designed by Cass Gilbert Specifically for Artists
I..andrnarks Preservation Commission February 16, 1988, Designation List 200 LP-1571 RODIN S'IUDIOS, 200 West 57th Street, Borough of Manhattan. Built 1916-17; architect cass Gilbert. Landmark site: Borough of Manhattan Tax Map Blcx::k 1028, lDt 33. on December 10, 1985, the landmarks Preservation Commission held a public hearing on the proposed designation of the Rodin Studios as a Landmark and the proposed designation of the related I..andrnark Site (Item No. 9). The hearing was continued to March 11, 1986 (Item No. 7) Both hearings had been duly advertised in accordance with the provisions of law. One witness spoke in favor of designation; three letters were received in support of designation. There were no speakers or letters in opposition to designation. DFSCRIPI'ION AND ANALYSIS summary The Rodin studios building, built in 1916-17, was designed by Cass Gilbert specifically for artists. Named for the most innovative living artist of the time, it represents a refinement on the earlier essays in what was a relatively new buildng type. '!he two principal elevations of this fourteen-story, reinforced concrete frame building, are sheathed in rough brick, polychromatic -- buff to gray, laid in American bond. The elaborate and extensive terra cotta and iron trim is molded and cast in the late Gothic-early Classical motifs which characterize the French Renaissance style, the style of the neighboring Arts Students League as well as a style Gilbert thought appropriate for artists. The studio windows on the West 57th Street elevation with their cast iron canopies are particularly noteworthy. '!he brickwork is remarkable also; the broad and narrow bay reveals, linking the buillding's base and cap, give this elevation a distinct visual coherence. -
The Cityrealty 100 Report 2020
THE CITYREALTY 100 REPORT 2020 DECEMBER 2020 THE CityRealty is the website for NYC real estate, providing high-quality listings and tailored agent matching for pro- spective apartment buyers, as well as in-depth analysis of the New York real estate market. 1100 THE CITYREALTY 100 REPORT 2020 About The CityRealty 100 The CityRealty 100 is an index comprising the top 100 condominium buildings in Manhattan. Several factors—including a building’s sales history, prominence, and CityRealty’s rating for the property—are used to determine which buildings are included in the index. This report tracks the performance of those buildings for the one-year period ending September 30, 2020. CityRealty releases regular reports on the CityRealty 100 to track the change in prices of the top 100 Manhattan condo buildings. After falling in 2018 from all-time highs achieved in 2016 and 2017, the index’s average price / foot and total sales volumes were roughly flat in 2020 as compared to 2019, with the average price per square foot increasing 2% to $2,649. For the 12 months ending Sep 30, there were 846 sales which accounted for $4.94B in sales volume. Manhattan real estate, as viewed through the lens of this report, focuses on the city's top tier of buildings, which are seen as a relatively stable and good investment. The stagnation in prices and volume, especially in buildings not new to the market, reflects a market that has been saturated with high-end product, and prices in the 3rd quarter of 2020 reflect an overall downward trend. -
The Concerts at Lewisohn Stadium, 1922-1964
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more.