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Rodeo Icon Dies in Agency Car Crash
PRSRT STD U.S. Postage Tribal Tribune wins General Excellence award at PAID SPOKANE, WA National Native News Conference Permit #7 A4 Tribal member an original at Hoopfest Issues arising with A16 sacred pinnacles A7 THE OFFICIAL PUBLICATION OF THE CONFEDERATED TRIBES OF THE COLVILLE RESERVATION Rodeo icon Songwriter dies in agency remembers car crash ‘Little Wolf’ • Kartar’s Condon was regarded as one of BY JUSTUS CAUDELL The Tribune the greatest Indian cowboys of all-time ometimes when he’s playing a BY JUSTUS CAUDELL gig an old timer will shout out The Tribune and whoop, “That’s Little Beaver. SThat’s Larry Condon.” Dave Schildt he Colville Reservation—the entire Indian cannot always see the calling party, but rodeo community—lost one of rodeo’s old he hears them in time greats Wednesday, June 5, when Larry the crowd. T“Little Beaver” Condon was killed when his pickup His song “Little collided with a semi-truck on Highway 97 at the Wolf” is always a Nespelem Agency campus. favorite, he said, At 81, Condon left a lasting and just as the old impression that was felt timers occasional across the country and at the shout, the song funeral services, held in Kartar is about Larry Valley Monday, June 9, where Condon. horsemen, family and friends Schildt came rode along in a final ride with up riding rodeo— Schildt the cowboy who was once and eventually ranked as the sixth best bull teaching school—in Browning, rider in the world. Montana as a member of the Condon qualified to the RCA Condon Blackfeet Nation. -
KEYNOTES the OFFICIAL NEWSLETTER of the EVANSTON SYMPHONY ORCHESTRA LAWRENCE ECKERLING, MUSIC DIRECTOR American Romantics
VOL. 46, NO. 3 • MARCH 2015 KEYNOTES THE OFFICIAL NEWSLETTER OF THE EVANSTON SYMPHONY ORCHESTRA LAWRENCE ECKERLING, MUSIC DIRECTOR American Romantics he third concert of the ESO’s 69th season, with its 2:30 PM ON Ttheme of the enduring appeal of Romanticism for SUNDAY MARCH 15, 2015 composers well into the 20th century, features three very well known American composers: Copland, Barber, and Hanson, plus a short piece by the Estonian Arvo Pärt. American Romantics Our concert opens with El Salón México by Aaron Copland demanded repayment of $500, which had been advanced (1900–1990). This 12 minute showpiece, premiered in to Barber. Having spent the advance on a European 1936, was the very first of Copland’s “populist” composi- vacation, Barber was forced to have a student at the Curtis tions in which he moved away from his previous Institute of Music perform the finale with only two hours of “modernist” style to an accessible tuneful style. Copland had practice, thereby proving that it was in fact “playable.” discovered the Mexico City dance hall of the title in 1932, ronicallyI perhaps, it is the lush romantic beauty of the first and consulted a collection of Mexican folk songs to lend two movements which has made this concerto the most authentic local color to this brilliantly orchestrated tone performed of all American concertos. picture. Howard Hanson (1896–1981) composed in a style even The austere spirituality of the music of Arvo Pärt provides more consistently Romantic than did Barber; in fact he titled a complete contrast to El Salón México. -
Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans
Document généré le 27 sept. 2021 01:22 Canadian University Music Review Revue de musique des universités canadiennes Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans Volume 21, numéro 2, 2001 Résumé de l'article Cette étude documente les efforts de Hans Rosbaud (1895–1962) pour URI : https://id.erudit.org/iderudit/1014484ar promouvoir la musique d’Arnold Schoenberg. L’essai est en grande partie basé DOI : https://doi.org/10.7202/1014484ar sur vingt années de correspondance entre le chef d’orchestre et le compositeur, échange demeuré inédit. Les tentatives de Rosbaud portaient déjà fruit Aller au sommaire du numéro pendant qu’il était en fonction à la radio de Francfort au début des années 1930. À la suite de l’interruption forcée due aux années nazies (au cours desquelles il a travaillé en Allemagne et dans la France occupée), Rosbaud a Éditeur(s) acquis une réputation internationale en tant que chef d’orchestre par excellence dédié aux œuvres de Schoenberg. Ses activités en faveur de Canadian University Music Society / Société de musique des universités Schoenberg dissimulaient le projet, que la littérature sur celui-ci n’avait pas canadiennes encore relevé, de ramener le compositeur vieillissant en Allemagne. ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Evans, J. (2001). Hans Rosbaud and the Music of Arnold Schoenberg. Canadian University Music Review / Revue de musique des universités canadiennes, 21(2), 41–59. https://doi.org/10.7202/1014484ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. -
For Fans of Metal's Seamy, Unsavory Past, This Is a Great Time to Be Alive
Nevertheless, it features a few stomping, pop- metal nuggets in the form of the sprite “Sweet Surrender,” the slightly seedy “Trash Queen” and the messy-but-fun Gary Glitter cover “Alrite with the Boyz.” The band would go on to release two more albums with a dirtier, more street-oriented sound that lacked the personality and cheap charm of the first LP. Witchfinder General borrowed their riffs or fans of metal’s seamy, unsavory past, this is a great from early Sabbath, dressed up in Victorian-era time to be alive. To start with, there are a slew of fresh costumes and posed with nude women on their album covers for a truly oddball presentation. reissues to gnaw on, and we’ll be doing plenty of that in The band’s second album Friends Of Hell (1983) just a few. And then, there’s the reemergence of a few past has also been given the ace reissue treatment F and alternates between doomy Sabs terrain key players that I also wanna touch on. So with that, grab a chair, or a (“Quietus Reprise”) and commercial hard rock blowtorch, or whatever else helps you relax, and let’s get moving. (“I Lost You”). Vocalist Zeeb Parkes’ limited range does the songs little justice, but the band’s The New Wave of British Heavy Metal volatile sign of things to come. Largely taking its material is an early example of the post-Sabbath (NWOBHM) movement that emerged during cues from Judas Priest, the rest of the album is doom trend that has become pervasive in metal the early ’80s was a massive cultural force. -
Laurent Mettraux
Laurent Mettraux composer 1-2 Biography 3-7 Principal works 8 Quotes of musicians 9-10 From the newspapers Laurent Mettraux Route Principale 160 CH-1791 Courtaman (Switzerland) tel. + fax : (+41) 26/684.18.65 e-mail : [email protected] www.laurentmettraux.com LAURENT METTRAUX (* 27. 5. 1970) Laurent Mettraux was born in 1970, in Fribourg (Switzerland). He completed the studies of analysis, counterpoint, harmony and fugue with René Oberson at the Music Academy of Fribourg, as well as piano, violin and singing. He continued his studies in Geneva (composition with Prof. Eric Gaudibert, conducting with Prof. Liang-Sheng Chen), while following also courses of ancient music and musicology. He received a prize of the Kiefer-Hablitzel Foundation (Association of Swiss Musicians). Counsels and courses with, among others, Klaus Huber, Luis de Pablo, Heinz Holliger, Arvo Pärt, Paul Méfano. His Symphony for chamber orchestra won in 1993 the 1st Prize and Public Prize of the 1st Competition for young composers, organized by the Orchestre de Chambre de Lausanne. He has been laureate of several foundations, and finalist of, among others, the European Competition of Choral Composition (Amiens, France). His work « Ombre » (« Shadow ») for orchestra, won 1998 the prize of the prestigious Donaueschinger Musiktage, given for the first time (among the members of the Jury: Wolfgang Rihm, Sylvain Cambreling, Gérard Grisey, Christian Wolff). He is also honoured in 2000 with a contribution ad personam from the UBS Kulturstiftung for his « remarkable partaking to the musical life in Switzerland and abroad ». First compositions in 1982. He receives numerous orders, as much from the interpreters as from concert associations, festivals, broadcasting and foundations. -
Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings. -
Citymusic Cleveland: a Conversation with Violinist Adele Anthony by Mike Telin
CityMusic Cleveland: a conversation with violinist Adele Anthony by Mike Telin After winning the 1996 Carl Nielsen International Violin Competition, Adele Anthony has enjoyed an acclaimed career as a concerto soloist, recitalist and chamber musician. On Thursday, March 12 at 7:30 in Mentor High School’s Performing Arts Center, CityMusic Cleveland will present the first of four free performances featuring Adele Anthony as soloist in Carl Nielsen’s Violin Concerto. (See our concert listings for additional times and locations.) The concerts, led by guest conductor Joaquin Valdepeñas, will also include Grieg’s Peer Gynt Suite No. 1 and Arvo Pärt’s Symphony No. 4, Los Angeles. During a recent telephone conversation I confessed to Adele Anthony that Nielsen’s Violin Concerto is a work with which I am not extremely familiar. “I hear that a lot,” she responded with a laugh. “And it’s too bad because I think it’s a beautiful work that people will appreciate. It has a very gripping opening. I found it to be very attractive from the first time I heard it.” Anthony’s first exposure to the piece was through her violinist father. “As a student in Germany, he studied with the great Hungarian violinist Tibor Varga, who’s recording of the concerto we had at home. My father told me that it is a fantastic piece and that I should learn it. I listened to it and thought it was great, and when I was older I did learn it, later entering the competition with it. And because of that win, I have been able to perform it a lot more than perhaps I would have otherwise.” The concerto is written in a melodic neo-classical style. -
Babes in Bondage: Indentured Irish Children in Philadelphia in The
Babes in Bondage: Indentured Irish Children in Philadelphia in the Nineteenth Century HE experiences of childhood, emotional, enhanced by the innocence of youth, and profoundly affecting, are a challenge Tto the imagination of the social historian. Children, even more than adults submerged in the mass of illiterate and inarticulate people in the past, are largely without historical chroniclers.1 Study of the influence of social customs, of home life, education and work life requires insight into the conditions of childhood. Not only were attitudes toward childhood different in the past from those of our own time, but there were types of juvenile experience quite different from contemporary forms of childhood participation. This is readily illustrated by the institution of child indentures in the nineteenth century. In Philadelphia the practice of legally binding children extended back to colonial times, from whence it was derived from England. Part of William Penn's original scheme for populating his vast holdings was a plan by which emigrants would be first indentured to captains of ships in England, and upon landing in Pennsylvania the indenture would then be sold to an American buyer.2 The institution of indenture was ancient, rooted in law and custom, and accepted as part of the economic and social life in the colonies. 1 The beginnings of a broader-based study of family and childhood have emerged in such studies as Shirley Glubock (ed.), Home Life and Child Care in Colonial Days (New York, 1969); Harvey L. Graff, "Patterns of Dependency and Child Development in the Mid- Nineteenth Century City: A Sample from Boston," History of Education Quarterly, XVII (1973), 12,9-143; Joseph F. -
BEAM the OCCASIONAL UNOFFICIAL JOURNAL of the UNUSUAL SUSPECTS ISSUE #13 : APRIL 2018 May Tucker’S Ghost Be Smiling Upon Us
2 BEAM THE OCCASIONAL UNOFFICIAL JOURNAL OF THE UNUSUAL SUSPECTS ISSUE #13 : APRIL 2018 May Tucker’s Ghost be Smiling Upon Us THE BITCH IS BACK Stone cold sober, as a matter of fact. I had other plans for this editorial, this issue, and my part in it. Nic and I were hoping to get this ish out before Easter, and Follycon, so I could encourage people to vote for Johan Anglemark for TAFF, and Nic could root equally ardently for No Preference. Happily, y’all took my advice without my having to bother to give it. Well done you. Hell, I was hoping to finish at least one more chapter of my own TAFF “A bit too early for trip report before Follycon, because hey, coffee. I’ll have a twenty years to write your trip report, That’s Not Too Many! Yes, it’s been twenty Scotch” years since Intuition happened in This issue of BEAM is edited by Nic Farey and Ulrika O’Brien. 3342 Cape Cod Drive, Las Vegas, NV 89122, USA, email : [email protected] 418 Hazel Avenue N., Kent, WA 98030, USA, email : [email protected] 2 Manchester. Twenty years since they declared Scott and carl, who share Randy’s taste for fizzy peace in Northern Ireland. In some ways, it vinegar. I’m especially sorry to miss a chance to seems like an eyeblink. hang with the Fishlifters, which is all too rare a But life, as they say, is what happens while you’re treat. And of course I’ll miss all you other fine busy making other plans. -
Gilbert Varga, Conductor Daniel Müller-Schott, Cello
Gilbert Varga, conductor Friday, March 22, 2019 at 10:30AM Daniel Müller-Schott, cello Saturday, March 23, 2019 at 8:00PM DUKAS The Sorcerer’s Apprentice (1897) (1865-1935) LALO Cello Concerto in D minor (1876) (1823-1892) Prélude: Lento - Allegro maestoso Intermezzo: Andantino con moto - Allegro presto Introduction: Andante - Allegro vivace Daniel Müller-Schott, cello INTERMISSION FRANCK Symphony in D minor (1888) (1822-1890) Lento - Allegro non troppo Allegretto Allegro non troppo ACKNOWLEDGMENTS The 2018/2019 Classical Series is presented by World Wide Technology and The Steward Family Foundation. Daniel Müller-Schott is the Charles V. Rainwater III Guest Artist. The concert of Friday, March 22, is underwritten in part by a generous gift from Mr. William M. Carey. The concert of Saturday, March 23, is underwritten in part by a generous gift from Lawrence and Cheryl Katzenstein. Pre-concert conversations are sponsored by Washington University Physicians. 23 PROGRAM NOTES PAUL DUKAS Born October 1, 1865, Paris, France Died May 17, 1935, Paris, France The Sorcerer’s Apprentice If ever a piece of music was victim of its own success, it is surely Paul Dukas’ L’apprenti sorcier. Better known in this country as The Sorcerer’s Apprentice (a slightly inaccurate English translation of its title; more precise would be “The Apprentice Sorcerer”), it scored an immediate success and established Dukas, who was not yet 32, as one of France’s important new composers. Dukas’ inspiration for The Sorcerer’s Apprentice was “Der Zauberlehring,” a ballad-like poem written in 1796 by Johann Wolfgang von Goethe. Goethe’s poem gives a first-person account of the misadventure that befalls a young man who has been taken on as an apprentice to an aged magician. -
Roinn Cosanta. Bijreaij of Military History, 1913-21
ROINN COSANTA. BIJREAIJ OF MILITARY HISTORY, 1913-21 STATEMENT BY WITNESS DOCUMENT NO. W.S. 492 Witness John McCoy, Greenhills, Kill, Co. Kildare. Identity Battalion Adjutant 1918-19; Brigade Adjutant 1919-21; Divisional" 1921-22; Member of Bureau of Military History, 1913-1921. Subject (a) Important national events in Northern Ireland, 1914-1923; (b) Military operations of I.R.A. in the North 1919-1921. Conditions, if any, stipulated by Witness Nil File No. S.1666 Form Statement by John McCoy, Greenhills, Kill, Co. Kildare. I was born on a farm of about 70 acres in a bowl shaped valley surrounded with mountains in South Armagh. My mother who died when I was 15 years of age was an O'Hanlon. Her family claimed direct descent from the Princes of Orior who before the plantation of Ulster were the traditional standard bearers to the O'Neills, Princes of Tyrone. The last chieftain of the O'Hanlon clan was Redmond 0'Hanlon who at the time of the plantation of Ulster in or about 1670 was serving as an officer in the French Army and had been awarded the title of Count by the French Government. My earliest recollection of my mother was her recounting to me the successes and adventures of her famous forebearer who returned to Ulster to drive the Sassanagh out and deal in particular with the undertakers who had murdered his Ulster kith and kin and taken possession of his family lands in the neighbourhood of Tanderagee, Co. Armagh. I was told how this same Redmond O'Hanlon gathered together a body of men who were prepared to take up the hazardous endeavour of an Irish Rapparee in order to harass and dispossess the planters who had taken over all the rich lands of the area. -
Florent SCHMITT Piano Quintet, Op
570489bk Schmitt EU:570034bk Hasse 25/1/11 4:33 PM Page 8 Florent SCHMITT Piano Quintet, Op. 51 À tour d’anches, Op. 97 Solisten-Ensemble Berlin Above, from left to right: Birgitta Wollenweber, Matthias Wollong, Petra Schwieger, Andreas Grünkorn, Ulrich Knörzer C Left, from left to right: Matthias Bäcker, M Birgitta Wollenweber, Richard Obermayer, Frank Forst Y K 8.570489 8 570489bk Schmitt EU:570034bk Hasse 25/1/11 4:33 PM Page 2 Florent Schmitt (1870–1958) presque imperceptible du piano, avant d’émerger espiègle, le mouvement suivant est également pétri de Piano Quintet, Op. 51 • À tour d’anches, Op. 97 progressivement des profondeurs jusqu’à un apogée rythmes imprévisibles et d’énergie capricieuse. Le fortissimo. Ce qui suit est une étude de contrastes, où des troisième mouvement bipartite altère néanmoins quelque The French composer Florent Schmitt, once mentioned by In some ways Schmitt’s election to this most venerable passages d’une beauté délicate et lyrique alternent avec peu le caractère de l’ouvrage. Le poignant nocturne initial Stravinsky in the same breath as Debussy and Ravel, is a of institutions was surprising, given that in his capacity as des gestes passionnés et dramatiques. L’ouverture du présente une mélodie de hautbois délicate et désolée qui somewhat obscure figure today. Often relegated to the a critic for such publications as La France, Revue de France second mouvement se caractérise par une texture insolite, tour à tour s’intègre à la texture environnante et s’en shadows of music history, he was nevertheless a prominent and Le temps he frequently ruffled establishment feathers impressionniste : des cordes éthérées avec sourdine détache.