DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 8, 1888-1889

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 8, 1888-1889 Bojtoi^ Synpl^opy Orel^^stra XI. PROGRAMME. ' December 28 and 29 HENRY F. MILLER from: X^OXJXiS :Dt/LJ!k^.ffLIS, The "World-RerLowiaecl I'ianist, Concliactor, and Composer* Boston, Dec. 2, 1881. Mr. Henry F. Miller. Dear Sir, — I cannot help expressing to you my admira- tion of your new Scale Grand Piano, which you placed at my disposal for my last two piano concerts in Boston. I have played and used in concert almost every piano of note both in Europe and America, and after this varied experience must say that for grandeur, volume, and quality of tone, as well as thorough finish in all details, your piano stands unequalled. It is sensitive to the most delicate shadings of touch, and stands the test of almost orchestral effects. The success which your pianos are meeting with every- where in concert must be highly gratifying to you, and you have my best wishes. Very sincerely yours, LOUIS MAAS. Those desirous of purchasing the best MUSICAL INSTRUMENTS are cordially invited to examine the HESRY F. MILLER GRAND PIANOS. HENRY F. MILLER & SONS PIANO CO. 156 Tremont Street, Boston. 1428 Chestnut St. Philadelphia. Ml SIC E:ALL, BOSTOJf. Boston Symphony Op^ghestra WILHELM GERICKE, Conductor. Eighth season - - - - - isss-ss. PROGRAMME OF THE EleYenth Rehearsal and Concert, FRIDAY AFTERNOON, DEC. 28, SATURDAY EVENING, DEC. 29, VITH HISTORICAL AND ANALYTICAL NOTES PREPARED BY C3-. H. "WILSOIT. PUBLISHED BY C. A. ELLIS. L P. HOLLANDER & CO. GRAND CLEARANCE SALE, Commencing Monday, Dec, 31, Ojjlt enture Stock: mcLTked. Tegctrdless of costj as T^e are deteTmtned to close oat the greater^ pavt of tt tefore taktixg stock Fet. 1. 82 & 83 Boylston Street and Park Sq. A. P. SCHMIDT & CO. 13 & 15 West Street, Boston, Mass. Music FublishErs. Sole Agents in the United States for HENRY LiITOLFF, Brunswick, Germany; ASHDOWN & PARKY, ILondon, Eng:land. Also constantly in stock the cheap editions of BBEITKOPF & HAEKTEI., STEINGKAEBEK, FOHLE, AUGENEK PETERS. Also Special Depot for NOVELLO'S and SCHIRMER'8 PUBLICATIONS. Antique Airs and Dances, transcribed by F. Boscovitz, No. 8, Rameau, Castor and Pollux, $0. 60 No. 9. Couperin. Soeur Monique ______ .50 ISiinon No. lO. Mehul. Menuet de ______ .50 No. 1 1 . Scarlatti. Burlesca ________ .40 G. W. Marston. Pleasures of Youth and Easy Recreations. Each, .25 G. P. Ritter. Six Sonatinas ___--__ "_ .25 N. B. — Music performed at all Concerts constantly in stock, generally in the well-known cheap editions. DOOLING, 11 AND 13 TEMPLE PLACE, AFTER THE CONCERT. SALADS, ICES, FROZEN PUDDING, ETC., ETC. MAt)E\ Ig) Ivj^yAttfz, HONOR I BEST ASSORTMENT OF FANCV CAKES KNOYfN THE WORLD 0¥ER*^ IN BOSTON. Catering for Wedding Receptions ESTEY, and other parties a specialty. 1B9 Xrkiviont Strkk^t. (322) Friday Afternoon, Dec. 28, at 2.30. Saturday Evening, Dec. 29, at 8. IPI^oa-Ky^IMIIMIE. » » • " MUSIC TO THE BALLET, Men of Prometlieus." Op. 43 - - Beethoven Overture. II. Adagio. Allegro con brio. III. Allegro vivace. V. Adagio. VII. Grave. VIII. March (allegro con brio). Xill. Allegro, XV. Andantino. I XVI. Finale (allegretto).-------- CONCERTO for 'Cello. Op. 34 A. Lindner Allegro. Serenade (andante). Tarentelle (allegro vivace). (First tinne in Boston.) ----- SYMPHONIC POEM, "Tasso.LamentoeTrionfo" Liszt Lento. Allegro strepitoso : Lento. Adagio mesto. Meno adagio. Allegretto naosso con grazia (quasi nnenuetto). Allegro con molto brio. The Programme for the next Public Rehearsal and Concert will be found on page 347. The Piano used is a Steinway. (323) THE BOSTON MUSIC CO. (G-. SCHIRIMEE, Jr.) Publishers and Importers of Music, 28 •\;^"Esrx' STisEErr. We take pleasure in announcing for early publication, WE PUBLISH THIS Vy^EEK, 5 ICsTIE'VT" SOn^O-S C, H. PORTER, Op. o, GEORGE COLEMAN GOW SEVERANCE, Since the publication of the "Group of Songs" several years ago, these are the first new songs by Dedicated to George J. Parker, and sung this composer to appear. Musicians will find in the in tlie First Symphony Popular. Opus 2 the same refined melody and poetic sentiment Gow's earlier volume. His that characterized Mr. THIS IS A FINE NEW TENOR SONG. songs present something new. We do not think Mr. Gow has been quite equalled by other American son? Music of the loth Symphony, Haydn's Symphonies writers in the art of making a perfect union of words arr. for two hands, and four hands. Lalo's Rhapsody and music. In aiming at this he has created a style arr. for four hands. neculiarlv his own. piapo piayi9(5 /T\ade ^asy. ©HE UlI^Gm I^I^A6TI6E-(©LAYIEI^ Ts trhflrvitely sixperzor to tTte. JPtctTLO or" Orgaiz for all Tzey-hoard tecTvrvtqrLe. ZTseci ztl tTce JSTev^ EnglcLThdL cLTcd JBostorh Co7xser\^cLtortes of M^TJLstc, CLTLcL Ijy Carlyle JPeterstlecL, Carl F<xeLteTt, JS. JP. CTLeltixs , 2£zlo JBertecLtctj CJhCLvles F. Derhixee^ J'lxite JtzT^e-^tirgj S, JB. IdtZZs, Jl. R. Larsons, cltxcZ otKev TepreseThtcLttire curttsts CLTcd tectcTiers. It is zTxe^^perhszT^ej poTtahle, arhct ctuzrcLble. Sercd stctnxp for des^crtptzv^e czvczlIclt. TJze pzLblzc zn-vzted to ca2l cLThd e:s:cuTvine. Hnstnn Agency - - - - HOTEL HDYLSTDN, COR. BOYLSTON AND TREMONT STREETS. (324) Music to the Ballet, " Men of Prometheug," Op. 43. Beethoven, Embraced among the pieces oi '• occasional music" by Beethoven is the '' Prometheus," composed in 1801, when Beethoven was thirty years old, when the first and second symphonies only of the greater works which mark his creative genius had been written. To correct an erroneous opinion regarding the first performance of the Prometheus music, Dr. Leopold Sonnleithner wrote the following to the Vienna Blatter fi'ir Musik, which Mr. D wight translated for Dwight's Journal^ ]d.r\. 2^. 1857: "The ballet "Z>/V Geschoppe des Prometheus was first produced at the Imperial Hof-Burg- Theatre, Vienna, on the 28th of March, 180 1, as is proved by the subjoined play-bill, which is given entire, because it contains the names of the actors and the substance of the plot for the better understanding of the music. The ballet was favorably received and given tolerably often in the years 180 1 and 1802. It then disappeared for many years from the Vienese stage. It was not until Nov. 18, 1843, that the management of the Karntherthor Theatre, in Vienna, produced Die Geschoppe des Prometheus^ a mythological ballet in two acts and six parts, invented and put on the stage by Augustus Hus, ballet-master of this theatre, with music by Beethoven, Mozart, and Haydn. This ballet is quite different from the older one, but the most interesting pieces in Beethoven's music were used in it. In this form, also, " Prometheus " pleased the public, being frequently represented in the years 1843 and 1844, while, from the ist of October, 1845, it was NOTE THE PRICES OF THE EASTMAN CHASE, FAMOUS J_ Invites attention to choice works in CENTEiil Pitiis ii Weter Colors. O-LO^TEIS Best Quality, 5 Button, colors - - - $1.35 Second Quality, 5 Button, colors and black 1.00 High-Class Etchings Other Lengths and Styles proportionately Low. _Sold Wf. 1 \I/CQT OT One door from And Fine Frames. Only at IIU. 1 VYCOl Oli "Wasliington St. P. CEXTEMKRI & CO. C. H. PHILLIPS, Manager. 7 HAMILTON PLACE. (325) H. B. STEVENS & CO. 169 Tremont Street - - . - BOSTON <3 d-oors nortli of IMCasoii. Slireet), Music t^ttC^ftsft IsTE'^Tv^ I=TJBILjia.-^m03^TS- SONGS. INSTRUMEJSTAIi. Bradsky, Th. The Tryst 35 Cui, C. Canzonetta 25 Gillet, E. Entr' acte Gavotte 50 Brahms, J. The Vain Suit •35 Denza, L. Sing to Me •50 Handel, J. Gavotte in BI2, trans, by J. de Sivrai .50 Lambert, A. Etude in (new revised Ed.)- > • Dessauer, J. Enticement •35 G 'ZS Massenet, Aragonaise from ballet. " Cid." .35 Faure, J. Spring Sun •50 J. " of the Virgin Gounod, C. Ring on, Sweet Angelus . •50 Last Dream 35 lente Lara, I. de. Mine To-day .50 Schiitt, Ed. Valse 35 Lassen, E. What else can I then say ? •35 Thoma, R. Polish Dance 50 Meyer-Helmund, E. The Letter •35 Concerts con- Pinsuti, C. Dream of Peace •65 Music performed at Symphony Saint-Saens, C. Serenade •50 stantly on hand. Tosti, F. P. More and More •50 aH^lSTD, Ur>IliaHT and SQUA^RE PIANO -FORTES. FoT mo-re thccTt fifty yecurs before tKe pixbltc, tTcese tnstrTunrLeTvts Kcuv^e, hy tJtezr e:s:cellence, GuttcutrLecL ctrh iLrtpuLrcTtcLsed pre-errvinence, T^TttcIt estctblzsTies tTteirt tKe JzneqzLCLlled zrt TONE, TOUCH, WORKMANSHIP, AND DURABILITY. E. W. TYLER, AgEiit, 17 B TrEmnnt St. (326) — revived with a new mise en scene. In subsequent years it has not been repeated. ' "The overture and several separate pieces of the music in ' Prometheus used to be frequently performed in the Imperial Hof-Burg Theatre, before plays and between the acts. "On the 22d of May, 1843, ^^e management of La Scala, Milan, produced Prometeo ballo mitologico in 6 atti inventaio e posto sulk scene dal Sigre. Salvatore Vigano. The plot and treatment differ essentially from the first Viennese version, as the existing programme proves. Beethoven's music was used, but several pieces by Haydn and other masters were introduced. " The first time this music was performed in a concert was at Vienna, the 4th of March, 1841, in the Concert Spirituel, on which occasion the intro- duction and explanation, written by Herr J. G. Seidl, was spoken by Madame Rettich, of the Imperial Theatres. The Society of the Friends of Music, of the Austrian Empire, also performed the work at their concert of the 20th of the February, 1853. Such is a list of the various occasions on which the work was publicly performed, as far as the writer of the present article is aware." " Dr.
Load more

Recommended publications
  • Corso Di Dottorato Di Ricerca in Storia Delle Arti Tesi Di Ricerca
    Corso di Dottorato di ricerca in Storia delle Arti ciclo XXI Tesi di Ricerca «THE PHENOMENAL CONTRALTO» Vita e carriera artistica di Eugenia Mantelli SSD: L-ART/07 Musicologia e storia della musica Coordinatore del Dottorato ch. prof. Piermario Vescovo Supervisore ch. prof. Paolo Pinamonti Dottorando Federica Camata Matricola 808540 «THE PHENOMENAL CONTRALTO». VITA E CARRIERA ARTISTICA DI EUGENIA MANTELLI INDICE Introduzione p. 3 1. Biografia di Eugenia Mantelli p. 7 1.1. L’infanzia e gli studi p. 9 1.2. Il debutto al Teatro de São Carlos p. 13 1.3. La carriera internazionale p. 16 1.3.1. 1886: prima tournée in Sudamerica p. 17 1.3.2. 1887: seconda tournée in Sudamerica p. 24 1.3.3. 1889: terza tournée in Sudamerica p. 26 1.3.4. Eugenia Mantelli-Mantovani p. 28 1.3.5. Dal Bolshoi al Covent Garden p. 31 1.3.6. ¡Que viva Chile! Ultime tournée in Sudamerica p. 33 1.4. New York, il Metropolitan e le tournée negli Stati Uniti p. 36 1.4.1. Eugenia Mantelli-De Angelis p. 47 1.5. «Madame Mantelli has gone into vaudeville» p. 51 1.6. Mantelli Operatic Company p. 66 1.7. Attività artistica in Italia p. 69 1.8. Le ultime stagioni portoghesi e il ritiro dalle scene p. 81 1.9. Gli anni d’insegnamento p. 91 1.10.Requiem per Eugenia p. 99 1 2. Cronologia delle rappresentazioni p. 104 2.1. Nota alla consultazione p. 105 2.2. Tabella cronologica p. 107 3. Le fonti sonore p. 195 3.1.
    [Show full text]
  • SEVENTEENTH REHEARSAL and CONCERT
    Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, J 492 Back Bay.) TWENTY-FOURTH SEASON, J904-J905. WILHELM GERICKE, CONDUCTOR programme OF THE SEVENTEENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, MARCH 3, AT 2.30 O'CLOCK. SATURDAY EVENING, MARCH 4, AT 8.00 O'CLOCK. Published by C. A. ELLIS, Manager. 109T THE MAKERS OF THESE INSTRUMENTS have shown that genius for pianoforte making that has been defined as "an infinite capacity for taking pains." The result of eighty years of application of this genius to the production of musical tone is shown in tiie Chickering of to-day. Catalogue upon Apf>/ication CHICKERING & SONS iiiT.'"m"i I SE ii;.^BM 1098 : TWENTY FOURTH SEASON, J90i-J905. Seventeenth Rehearsal and Concerts FRIDAY AFTERNOON, MARCH 3, at 2.30 o'clock, SATURDAY EVENING, MARCH 4, at 8,00 o'clock. PROGRAMME. Wagner ........ A •' Faust " Overture Gluck . Recitative, "The gods have foreshewn me the future," and Aria, " Foreboding fears of ill," from " Iphigenia in Tauris " Bach .... Prelude, Adagio, and Gavotte in Rondo Form (Arranged for Strings by Sigismund Bachrich.) " " Mozart . "Turn your glance on him," from Cos\ fan Tutte in Schubert . Symphony C major, No. 7 I. Andante; Allegro, ma non troppo. II. Andante con moto. III. Scherzo: Allegro vivace. Trio. IV. Finale : Allegro vivace. SOLOIST Mr. GIUSEPPE CAMPANARI. There will be an intermissioa of ten minutes before the symphoay. The doors of the hall will he closed during the performance of each number on the programme. Those who wish to leave before the end of the 'concert are requested to do so in an interval be- tween the numbers.
    [Show full text]
  • ARSC Journal
    HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote-­ Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be­ zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner­ baron--0 habet acht.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 10, 1890-1891
    MUSIC HALL, BOSTON. BOSTON SYMPHONY ORCHESTRA, ARTHUR NIKISCH, Conductor. Tenth Season, 1890-91. PROGRAMME OF THE Twentv-iirst Rehearsal and Concert J FRIDAY AFTERNOON, APRIL 3, AT 2.30. SATURDAY EVENING, APRIL 4, AT 8.00. WITH HISTORICAL AND DESCRIPTIVE NOTES PREPARED BY G. H. WILSON. PUBLISHED BY C. A. ELLIS, Manager. (641) MASON & HAMLIN HALL. -THIRD- Chamber Concert, Wednesday Evening, April 8, At 8 o'clock. ARTISTS . Mrs. ARTHUR NIKISCH, Mr. T. ADAMOWSKI, Mr. ARTHUR FOOTE, AND OTHERS. PROGRAMME INCLUDES " < Andsinte from ?uintett," • • Chadwick Violin Sonata, • • • Foote Trio No. 2, • • • Mendelssohn " Trio from The Deluge," • • . Saint-Saens Tickets on sale at Mason & Hamlin Warerooms, 155 Tremont Street. (642) TWENTY-FIRST REHEARSAL AND CONCERT. Friday Afternoon, April 3, at 2.30. Saturday Evening, April 4, at 8.00. PROGRAMME. Rubinstein - Overture, "Antony and Cleopatra" (FIRST TIME IN BOSTON.) - - Liszt . Concerto for Pianoforte, No. 2, in A major Lalo - - Rhapsody for Orchestra, in A Svendsen - - - - - Symphony No. 2, in B-flat, Op. 15 Allegro. Andante sostenuto. Intermezzo (Allegro guisto). Finale (Andante ; Allegro con fuoco). Soloist, Mr. ARTHUR FRIEDHEIM. THE PIANO USED IS A STEINWAY. The Programme for the next Public Rehearsal and Concert will be found on page 667. (643) : SHORE LINE BOSTON TO NEW YORK NEW YORK TOI U BOSTON Trains leave either city, week-days, as follows, except as noted DAY EXPRESS at 10.00 a.m. Arrive at 4.30 p.m. AFTERNOON SERVICE at 1.00 p.m. Arrive at 7.30 p.m. Dining Car beween Boston and New London. "GILT EDGE" LIMITED at 5.00 p.m.
    [Show full text]
  • Forgotten Splendour
    FORGOTTEN SPLENDOUR A Chronology of the North Shore Music Festival 1909 to 1939 by Andrew Cottonaro Beginning in 1909 and lasting until 1939, the North Shore Music Festival of Northwestern University was a significant musical and social event in the Chicago area. For a few days each Spring, the campus hosted a diverse body of performers in a series of grand concerts. Naturally, some of that era’s most eminent singers could be heard there. Their presence certainly helped to sell tickets and their artistry helped to sustain the festival as a popular and critical success. Now, sixty years later, the festival hardly even counts as a faded memory. To date, two books (in part), offer a general outline of the festival’s history, but both lack any detailed analysis of who appeared and what was actually sung. This is the first attempt to present a chronology of the vocal offerings (quite distinct from the orchestral offerings) at the festival. Northwestern University, the official sponsor of the festival, is located in Evanston, Illinois (USA). The town is a suburb of Chicago, directly north of the city and on the banks of Lake Michigan. Because of this geographic position, Evanston and the other cities of the area are called the North Shore, hence the origin of the festival’s name. Northwestern University was incorporated in 1850 and gradually won recognition for its academic excellence. The establishment of musical studies, however, was a tangled web of many failed efforts. In a final and desperate attempt to salvage musical education, the university’s board of trustees in 1891 appointed Peter Christian Lutkin (1858-1931) to direct musical studies, a post that he held until his death.
    [Show full text]
  • CYLINDERS 2M = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
    CYLINDERS 2M = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. All cylinders EDISON unless otherwise indicated. ROBERT BLASS [bs]. New York City, 1867-Berlin, 1930. Born of German parents, Blass studied first as a violinist and then voice in Frankfurt with Julius Stockhau- sen. His debut was in Weimar, 1892, as King Henry in Lohengrin and he was soon heard in many of Germany’s leading houses. Covent Garden and the Metropolitan Opera first heard him in 1900 and he sang in New York through 1910 and again the seasons of 1920-22. From 1913 to 1920 he was with Berlin’s Deutsche Opera and he taught in Berlin until his death. Blass made few recordings, these for Victor in 1903 and Edison in 1905. 9165. 2M Wax Edison B-48. MAGIC FLUTE: In diesen heil’gen Hallen (Mozart). Announced by Blass. OBT. Just about 1-2. $75.00. ALOIS BURGSTALLER [t]. Holzkirchen, Germany, 1872-1945. Trained as a watchmaker, Burgstaller was heard by chance and encouraged by Cosima Wagner. He made his stage debut at Bayreuth in 1894 in a small role, and from 1896 to 1903 he appeared there in various principal parts such as Siegmund, Parsifal, and Siegfried. In addition he sang at Covent Garden, in Paris and Moscow, as well as in other major Euro- ROBERT BLASS pean operatic sites.
    [Show full text]
  • Olive Fremstad Steinway Piano
    8 TITE STJXPAY OREGOXIASr, PORTLAND, OCTOBER 4, 1914. - i fond of music He gave at his chateau difficult "D Minor Concerto" (Wlenlaw-8ki- ) a number of Wagnerian operas and and, "Ziegvenerwelssen" (Sarasate). engaged the best German artists he Mordaunt A. Goodnough will be the could secure to entertain his guests, pianist and Mrs. Rose Friedel Glanelll, all devotees of music It was a stu- contralto, the vocalist. pendous undertaking and his guests numbered only 25 people. And now I Miss Genevieve Bingham, a soprano learn that Rheims has been shelled." rrom tspoKane. W ash., is studying vocal Olive Miss Schneider was prepared Fremstad for the music with Robert Bolce Carson, and operatic stage by Lampertl. Recently will be presented by him In recital in says she has been studying French roles December. of the with Jean de Reszke in Paris. She sings 40 roles. In Karlsruhe she cre- part At Sunnyslde Methodist Ertlscon&l ated the of "Zerbinetta" In Church tonight. East Thirty-fift- h and Strauss' "Ariadne auf Naxos." East Yamhill streets, the first of the Steinway series of regular monthly aacred con Piano At a recent meeting of the Oregon certs for the coming season, under Chapter, American Guild of Organists, or j uiavju J Kira.jXAJj, the premier soprano of the it was stated that officials of tne direction Jasper Dean Mac Fall, payunless choirmaster, and Mrs. Samuel F Metropolitan Opera House, will sing at Heilig Theater Portland churches more attractive Grover, organist, will be rendered by . salaries to their church organists they tne comDinea Wednesday, uctoDer Mme.
    [Show full text]
  • Volume 28, Number 01 (January 1910) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1910 Volume 28, Number 01 (January 1910) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 28, Number 01 (January 1910)." , (1910). https://digitalcommons.gardner-webb.edu/etude/554 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]. ew Publications THE ETUDE Musical Kindergarten The Very First Pieces Melodic Studies TO OUR READERS THE EDITOR’S COLUMN for the PIANOFORTE For Equalization of the Hands Mpfhnrf SOME NEW YEAR RESOLUTIONS. KINDLY ADDRESS YOUR MAIL . 1UCUIUU Price C nt5 for the Pianoforte The publisher resolves: To make the PROPERLY. For the Nursery &nd the Gl&ss Room 1 gy ^ sartorio numbers of The Etude for 1910 even better In sending letters to The Etude it is highly A MONTHLY JOURNAL FOR THE MUSICIAN, THE than those for 1909. To the skeptical we important that they should be addressee MUSIC STUDENT, AND ALL MUSIC LOVERS. would say that The Etude has never failed to simply thus: Edited by JAMES FRANCIS COOKE “make good” its promises during the entire Theodore Presser Co., Subscription,.$1.50 per year.
    [Show full text]
  • NINETEENTH REHEARSAL and CONCERT
    Boston Symphony Orchestra. SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, 1492 Back Bay.) TWENTIETH SEASON, 1900-1901. WILHELM GERICKE, CONDUCTOR. PROGRAMME OF THE NINETEENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP. ^ ^ FRIDAY AFTERNOON, MARCH 29, AT 2.30 O'CLOCK. SATURDAY EVENING, MARCH 30, AT 8.00 O'CLOCK. PUBLISHED BY C. A. ELLIS, MANAGER (761) Established Established 1823 1823 PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever Retail Warerooms^ 791 Tremont Street (762) " TWENTIETH SEASON, I900~I90L Nineteenth Rehearsal and Concert* FRIDAY AFTERNOON, MARCH 29, at 2.30 o'clock. SATURDAY EVENING, MARCH 30, at 8 o'clock. PROGRAMME. Robert Schumann - - Overture to " Julius Caesar,'' Op. 128 (First time at these concerts.) " Luig:i Mancinelli - - " Pater Noster Gustave Charpentier - Orchestral Suite, " Impressions of Italy " (First time in Boston.) _ _ _ I. Serenade : Assez vite (A major) 2-4 - II. At the Fountain : Tranquille (B-flat major) 2-4 III. On Muleback: Allegretto (G minor) - - - 2-4 Andantino (G major) - - - 3-4 - IV. On the Summits : Moderato (A major) - 3-4 - V. Napoll : Allegro non troppo (D major) - 2-4 Ruggiero Leoncavallo _ _ _ _ Prologfue to " Pagliacci Franz Liszt - Symphonic Poem No. I J, "Battle of the Huns" (First time at these concerts.) Mr. Goodrich at the Organ. SOLOIST: Mr. GIUSEPPE CAMPANARI. City of Boston, Revised Regulation of August 5, 1898.— Cliapter 3, relating to tlie covering of the liead in places of public amusement. Every licensee shall not, in his p]ace of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any per- son aeatea in any seat therein provided for spectators, it being understood that a low h«ad covering without projection, which does not obstruct such view, may be worn.
    [Show full text]
  • Opera in English: Class and Culture in America, 1878–1910
    OPERA IN ENGLISH: CLASS AND CULTURE IN AMERICA, 1878–1910 Kristen M. Turner A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2015 Approved by: Annegret Fauser Mark Evan Bonds John Nádas Katherine K. Preston Philip Vandermeer ©2015 Kristen M. Turner ALL RIGHTS RESERVED ii ABSTRACT Kristen M. Turner: Opera in English: Class and Culture in America, 1878–1910 (Under the direction of Annegret Fauser) European grand opera performed in English translation was a potent cultural force in the United States at the end of the long nineteenth century. Analysis of business correspondence, theater records, advertisements, reviews, and social commentaries, reveals that rhetoric about opera engaged with issues of class, race, gender, and nationalism. Critics identified foreign-language grand opera as a high art, suitable primarily for the upper class and educated listeners. In contrast, writers viewed the same operas sung in English as entertainment for a middle-class audience who wished to enjoy opera in the vernacular performed by American singers. Southern small towns, such as Raleigh, North Carolina, used English-language opera and art music to reinforce racial boundaries and to project a civic identity as a refined, middle-class city. The African American community, as a result of segregation and oppression, had different conceptions about art, class, and culture than the white majority. African American writers framed English-language performances by the all-black Theodore Drury Grand Opera Company as a way to resist racial tyranny by emphasizing the skill of the troupe’s singers and the sophistication of its educated black audience.
    [Show full text]
  • 02 – Spinning the Record
    I: THE EARLY YEARS What on earth were they fighting over? To read the early history of recording, you would think that these people were arguing over shares of Microsoft stock or territory in the Middle East. These pioneers, some of whom really did have good intentions, were soon caught up in imbroglios, lawsuits and just plain nasty arguments that could make your head spin. It’s also rather hard to disentangle the vari- ous threads nowadays because, like all real history, none of it happened in a neat, linear fash- ion, but all jumbled together, lines drawn in the sand spilling all over each other as the tides of music fashions and different musical agendas rushed in from an ocean of public consumers. Reduced to essentials, it all seems so neat: Thomas Edison invents first practical phono- graph in 1877, sets it aside for 12 years and doesn’t bother to market or develop it as he turns his attentions to other matters (specifically electric light); other inventors pick up the thread around 1889, ten years later the flat disc begins to make significant inroads on the cylinder, by 1913 Edison throws in the towel and starts making flat discs of his own, in 1925 electrical re- cording replaces the old acoustical method, by which time radio is making significant inroads on the record industry itself. By 1930, thanks to the overwhelming popularity of radio and the Depression, the record industry is floundering; new techniques and marketing ideas help keep it afloat through the Depression and War years, then it blossoms in a Renaissance of long-play albums, stereo sound and a seemingly unlimited market.
    [Show full text]
  • ARSC Journal
    Giuseppe Creatore June 21, 1871 - August 14, 1952 The most distinguished and the most prolific recording artist of the Italian bandmasters appears in a photo taken during the early 1920s, The Creatore Band records were made from 1905 to 1940 and number about 145 sides. The photo is from the collection of the late RCA Victor Executive, Harold D. Smith. (Courtesy of ARSC member Gerald Parker, Music Division, National Library of canada, 395 Wellington Street, Ottawa, Ontario, Canada K1A CN4.) THE MAPLESON CYLINDER PROJECT at the Rodgers and Hammerstein Archives of Recorded Sound New York Public Library A Preliminary Report by David Hall - Curator Rodgers and Hammerstein Archives of Recorded Sound Some fifteen years ago this writer, soon after assuming charge of the Rodgers and Hammerstein Archives of Recorded Sound, made a resolve to provide aural access to all of the contents that might be salvageable from the 120 items in original wax cylinder or lacquer disc transfer for­ mat held at the Archives as the Lionel Mapleson Collection, these docu­ menting in 2-minute segments actual stage performances at the Metropoli­ tan Opera during the seasons 1900-01, 1901-02, 1902-03. The basic job was finally completed on June 22, 1981 after 16 intensive working sessions with Archives sound engineer Tom Owen. The history preceding this accom­ plishment is outlined in the accompanying Provisional Mapleson Cylinder Chronology -- "Provisional" because even as we write these lines, new information is coming to light as regards history and provenance -- and even as regards aural data: for example, verification that one of the cylinders offers an episode from Ignace Jan Paderewski's opera, Manru, on the occasion of its first American performances in February of 1902.
    [Show full text]