Volume 35, Number 05 (May 1917) James Francis Cooke
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BRIEF STUDIES and REPORTS the Perry George Lowery / Scott Joplin
459 BRIEF STUDIES and REPORTS The Perry George Lowery / Scott Joplin Connection: New Information on an Important African American Cornetist Richard I. Schwartz The author of this article has previously discussed the life and career of Perry George Lowery (1869-1942) in the Historic Brass Society .f ournal (vol. 12 [2002] : 61-88). The present article is designed to provide supplementary information about his circus career and his surprising professional association with Scott Joplin (1868-1919). It has become apparent to this author that a relationship of strong mutual respect and friendship developed between Perry George Lowery and Scott Joplin during the early twentieth century. P.G. Lowery was renowned for his abilities not only as a cornetist, but also as a conductor ofmany brass bands, consisting of the best African American band musicians in the entertainment world.' Scott Joplin's achievements are many and have been researched extensively by several authors.' One of the few articles in The Indianapolis Freeman3 documenting a friendship between Lowery and Joplin states that "P.G. Lowery, assistant manager of Swain's Nashville Students was the special guest of Scott Joplin, the ragtime king and author of the following hits: `Maple Leaf Rag,' 'Easy Winner,' Peacherine Rag,' 'Sun-flower Slowdrag,' and 'A Blizzard'." Much has been written about all of these compositions with the exception of the last one: no piece entitled A Blizzard has survived and according to Edward A. Berlin4 this reference is the only known mention of it. Lowery extolled the praises of Joplin's works in The Indianapolis Freeman (16 November 1901, p. -
VIVACE AUTUMN / WINTER 2016 Photo © Martin Kubica Photo
VIVACEAUTUMN / WINTER 2016 Classical music review in Supraphon recordings Photo archive PPC archive Photo Photo © Jan Houda Photo LUKÁŠ VASILEK SIMONA ŠATUROVÁ TOMÁŠ NETOPIL Borggreve © Marco Photo Photo © David Konečný Photo Photo © Petr Kurečka © Petr Photo MARKO IVANOVIĆ RADEK BABORÁK RICHARD NOVÁK CP archive Photo Photo © Lukáš Kadeřábek Photo JANA SEMERÁDOVÁ • MAREK ŠTRYNCL • ROMAN VÁLEK Photo © Martin Kubica Photo XENIA LÖFFLER 1 VIVACE AUTUMN / WINTER 2016 Photo © Martin Kubica Photo Dear friends, of Kabeláč, the second greatest 20th-century Czech symphonist, only When looking over the fruits of Supraphon’s autumn harvest, I can eclipsed by Martinů. The project represents the first large repayment observe that a number of them have a common denominator, one per- to the man, whose upright posture and unyielding nature made him taining to the autumn of life, maturity and reflections on life-long “inconvenient” during World War II and the Communist regime work. I would thus like to highlight a few of our albums, viewed from alike, a human who remained faithful to his principles even when it this very angle of vision. resulted in his works not being allowed to be performed, paying the This year, we have paid special attention to Bohuslav Martinů in price of existential uncertainty and imperilment. particular. Tomáš Netopil deserves merit for an exquisite and highly A totally different hindsight is afforded by the unique album acclaimed recording (the Sunday Times Album of the Week, for of J. S. Bach’s complete Brandenburg Concertos, which has been instance), featuring one of the composer’s final two operas, Ariane, released on CD for the very first time. -
Kimberlie Rose Dillon Oboe & English Horn Teamdillonmusic.Wordpress.Com
Kimberlie Rose Dillon Oboe & English Horn teamdillonmusic.wordpress.com I. Education & Training McLennan Community College | Teacher Certification in Early Childhood-Grade 12 Music 2013 Baylor University | Teaching Certificate in Higher Education 2012 Baylor University | Master of Music Degree in Oboe Performance 2012 Oboe Professor: Doris DeLoach, DMA University of Minnesota Duluth (UMD) | Bachelor of Music Degree in Oboe Performance 2010 Oboe Instructor: Laurie Van Brunt Jeanne Inc. | Oboe Gouger Assembly & Maintenance Workshop 2009 Other Primary Teachers Julie Gramolini Williams | Minnesota Orchestra 2015-Present Susan Tomkiewicz, DMA | Luther College 2005-2006 Jennifer Gookin, DMA | Luther College 1999-2005 II. Employment UMD Fine Arts Academy | Community Music Teaching Specialist 2014-Present teach weekly private oboe lessons to middle and high school students Rock Hill Community Church | Administrator 2013-2015 assisted pastoral staff with organizational functions coordinated volunteer schedules, supported bookkeeping efforts, and helped with event planning Waco Baptist Academy | Preschool-Grade 6 General Music Educator 2012-2013 taught Prekindergarten – Grade 6 general music classes and directed school performances Baylor University Golden Wave Marching Band | Administrative Assistant 2012 supported the Golden Wave Marching Band Director by serving in an administrative role Baylor University Fine Arts Library | Student Assistant 2011-2012 assisted patrons in research and checking out materials and shelved books and scores Baylor University School of Music | Graduate Assistant 2010-2012 co-instructed oboe methods, taught secondary oboe lessons, and coached chamber music ensembles coordinated student music recitals and performed secretarial tasks III. Performance Experience Ensembles Mesabi Symphony Orchestra, Sub. Oboe & English Horn 2016-Present, 2013 Itasca Symphony Orchestra, Sub. Oboe & English Horn 2013-Present Lake Superior Chamber Orchestra, Sub. -
The Orchestra in History
Jeremy Montagu The Orchestra in History The Orchestra in History A Lecture Series given in the late 1980s Jeremy Montagu © Jeremy Montagu 2017 Contents 1 The beginnings 1 2 The High Baroque 17 3 The Brandenburg Concertos 35 4 The Great Change 49 5 The Classical Period — Mozart & Haydn 69 6 Beethoven and Schubert 87 7 Berlioz and Wagner 105 8 Modern Times — The Age Of The Dinosaurs 125 Bibliography 147 v 1 The beginnings It is difficult to say when the history of the orchestra begins, be- cause of the question: where does the orchestra start? And even, what is an orchestra? Does the Morley Consort Lessons count as an orchestra? What about Gabrieli with a couple of brass choirs, or even four brass choirs, belting it out at each other across the nave of San Marco? Or the vast resources of the Striggio etc Royal Wedding and the Florentine Intermedii, which seem to have included the original four and twenty blackbirds baked in a pie, or at least a group of musicians popping out of the pastry. I’m not sure that any of these count as orchestras. The Morley Consort Lessons are a chamber group playing at home; Gabrieli’s lot wasn’t really an orchestra; The Royal Wed- dings and so forth were a lot of small groups, of the usual renais- sance sorts, playing in turn. Where I am inclined to start is with the first major opera, Monteverdi’s L’Orfeo. Even that tends to be the usual renaissance groups taking turn about, but they are all there in a coherent dra- matic structure, and they certainly add up to an orchestra. -
Murder-Suicide Ruled in Shooting a Homicide-Suicide Label Has Been Pinned on the Deaths Monday Morning of an Estranged St
-* •* J 112th Year, No: 17 ST. JOHNS, MICHIGAN - THURSDAY, AUGUST 17, 1967 2 SECTIONS - 32 PAGES 15 Cents Murder-suicide ruled in shooting A homicide-suicide label has been pinned on the deaths Monday morning of an estranged St. Johns couple whose divorce Victims had become, final less than an hour before the fatal shooting. The victims of the marital tragedy were: *Mrs Alice Shivley, 25, who was shot through the heart with a 45-caliber pistol bullet. •Russell L. Shivley, 32, who shot himself with the same gun minutes after shooting his wife. He died at Clinton Memorial Hospital about 1 1/2 hqurs after the shooting incident. The scene of the tragedy was Mrsy Shivley's home at 211 E. en name, Alice Hackett. Lincoln Street, at the corner Police reconstructed the of Oakland Street and across events this way. Lincoln from the Federal-Mo gul plant. It happened about AFTER LEAVING court in the 11:05 a.m. Monday. divorce hearing Monday morn ing, Mrs Shivley —now Alice POLICE OFFICER Lyle Hackett again—was driven home French said Mr Shivley appar by her mother, Mrs Ruth Pat ently shot himself just as he terson of 1013 1/2 S. Church (French) arrived at the home Street, Police said Mrs Shlv1 in answer to a call about a ley wanted to pick up some shooting phoned in fromtheFed- papers at her Lincoln Street eral-Mogul plant. He found Mr home. Shivley seriously wounded and She got out of the car and lying on the floor of a garage went in the front door* Mrs MRS ALICE SHIVLEY adjacent to -• the i house on the Patterson got out of-'the car east side. -
Enroll Today!
FALL 1001 East Oregon Road 2016 CATALOG Lititz, PA 17543-9206 Capital Region | Lancaster County FALL 2016 CATALOG ENROLL TODAY! 717.381.3577 Lifelong Learning Courses, email: [email protected] | web: thepathwaysinstitute.org Excursions, & Service Projects for Adults 55+ in Lancaster County. Lifelong Learning Courses, Excursions, & Service Projects for Adults 55+ in Lancaster County. TABLE OF CONTENTS > TABLE OF PURPOSE/MISSION > PURPOSE/MISSION DIRECTOR’S WELCOME 1 CONTENTS > MEMBERSHIP PURPOSE/MISSION 2 > DIRECTOR’S MEMBERSHIP 2-3 WELCOME We commit to these values as we honor God in REGISTRATION 3-4 our service to others: PATHWAYS INSTITUTE FOR LIFELONG JOY: Nurturing an atmosphere which is positive, PROCEDURES 4-5 LEARNING MISSION AND PURPOSE hopeful and thankful, while delighting in serving DIRECTIONS 6 DIRECTOR’S WELCOME The mission of the Pathways Institute for Lifelong others, fulfilling responsibilities and celebrating life. Learning® is to foster with persons 55+ a quest for Thank you for your interest in the Pathways COURSES & EVENTS BY TOPIC lifelong learning that enriches the mind and spirit to COMPASSION: Demonstrating Christ-like love and ® (SEPTEMBER 7 – DECEMBER 15) 7-18 Institute for Lifelong Learning ! pursue wisdom, service, and understanding. concern in our relationships, serving one another with grace, humility, gentleness and sensitivity in a manner History & Culture 7-9 The Pathways Institute provides adults age 55 Recognizing that older adults have much to celebrate, which respects diversity and honors the dignity and Local History 10-12 & better with educational & lifelong learning discover, and share, the Pathways Institute for worth of everyone. Current Topics & Discussions 12 opportunities in an environment conducive to Lifelong Learning was established by Messiah Lifeways to find meaningful use of their talents and INTEGRITY: Committing ourselves to be honest, Nature & Science 12-13 discussion and sharing. -
5-1 Shostakovich's Knowledge and Understanding of the Oboe and Cor
5-1 CHAPTERS MELODIC ASPECTS 5.1 Introduction Shostakovich's knowledge and understanding of the oboe and cor anglais are clearly reflected in the allocation of solo material throughout his 15 symphonies. 5.2 Allocation of solo material to the oboe Although the oboe is clearly not Shostakovich's favourite instrument, the solo material reveals a deft understanding of the instrument's technical and lyrical capabilities. Symphonies No.2, 11 and 13, however, have no solos for the oboe. The oboes are not used in Symphony No. 14 as it is scored for strings, percussion and soloists. As early as Symphony No. 1 Shostakovich establishes himself with insight as an orchestrator of oboe solos. A wide range of dynamic indications accompany the oboe solos, unlike the cor anglais whose predominantly allocated dynamic range is piano. Shostakovich writes very sympathetically for the player by not exhausting his stamina and by allowing sufficient rests in solo passages and avoiding long phrases. Solo passages are sometimes given to the second oboe and cor anglais in unison or in thirds, sixths or otherwise (see Ex. 5-5). Solo passages are also sometimes shared with other woodwind instruments. Oboe solos are generally approximately 8 bars long, although longer solos are found in Symphonies No.1, 4, 7 and 10 with 16 or more bars in length. The first movement of Symphony No.7 has the longest solo of 35 bars in which the bassoon and first oboe have solos in free imitation. Oboe solos are often supported by a characteristic tremolo string accompaniment, or by sustained strings or low woodwinds. -
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Classics Contemporaries of Mozart Collection COMPACT DISC ONE Franz Krommer (1759–1831) Symphony in D major, Op. 40* 28:03 1 I Adagio – Allegro vivace 9:27 2 II Adagio 7:23 3 III Allegretto 4:46 4 IV Allegro 6:22 Symphony in C minor, Op. 102* 29:26 5 I Largo – Allegro vivace 5:28 6 II Adagio 7:10 7 III Allegretto 7:03 8 IV Allegro 6:32 TT 57:38 COMPACT DISC TWO Carl Philipp Stamitz (1745–1801) Symphony in F major, Op. 24 No. 3 (F 5) 14:47 1 I Grave – Allegro assai 6:16 2 II Andante moderato – 4:05 3 III Allegretto/Allegro assai 4:23 Matthias Bamert 3 Symphony in G major, Op. 68 (B 156) 24:19 Symphony in C major, Op. 13/16 No. 5 (C 5) 16:33 5 I Allegro vivace assai 7:02 4 I Grave – Allegro assai 5:49 6 II Adagio 7:24 5 II Andante grazioso 6:07 7 III Menuetto e Trio 3:43 6 III Allegro 4:31 8 IV Rondo. Allegro 6:03 Symphony in G major, Op. 13/16 No. 4 (G 5) 13:35 Symphony in D minor (B 147) 22:45 7 I Presto 4:16 9 I Maestoso – Allegro con spirito quasi presto 8:21 8 II Andantino 5:15 10 II Adagio 4:40 9 III Prestissimo 3:58 11 III Menuetto e Trio. Allegretto 5:21 12 IV Rondo. Allegro 4:18 Symphony in D major ‘La Chasse’ (D 10) 16:19 TT 70:27 10 I Grave – Allegro 4:05 11 II Andante 6:04 12 III Allegro moderato – Presto 6:04 COMPACT DISC FOUR TT 61:35 Leopold Kozeluch (1747 –1818) 18:08 COMPACT DISC THREE Symphony in D major 1 I Adagio – Allegro 5:13 Ignace Joseph Pleyel (1757 – 1831) 2 II Poco adagio 5:07 3 III Menuetto e Trio. -
A History of Music in Old Mount Vernon, Ohio with Particular Attention to Woodward Hall and the Nineteenth-Century American Opera House
A HISTORY OF MUSIC IN OLD MOUNT VERNON, OHIO WITH PARTICULAR ATTENTION TO WOODWARD HALL AND THE NINETEENTH-CENTURY AMERICAN OPERA HOUSE A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Elizabeth Bleecker McDaniel, B.A. ***** The Ohio State University 2003 Master's Examination Committee Approved by Dr. Graeme M. Boone, Adviser Dr. Charles M. Atkinson _________________________ Adviser Mr. Christopher R. Weait School of Music ABSTRACT During the antebellum period, the town of Mount Vernon, Ohio had a flourishing music scene that included performances by both local amateur societies and professional touring groups. When Woodward Hall, located on the top floor of a four-story commercial building, opened its doors to the public in 1851, it provided the town with its first dedicated theater. Newspaper items and other early sources show that the hall was a focus of public culture in the 1850s, hosting concerts, plays, lectures, and art exhibits as well as community activities including dances, church fundraisers, and school exhibitions. The early source materials for Mount Vernon, however, like those for many small towns, are lacunary, and especially so in the case of Woodward Hall. These shortcomings are compensated, to some extent, by materials relating to theaters of similar size and age in other towns, which offer points of comparison for the Woodward and prove it to be a typical mid-nineteenth-century American theater in some respects, and a distinctive one in others. Modern-day music histories have heretofore been silent on the subject of music and opera houses in small towns despite Oscar Sonneck’s call, some ninety years ago, for local music historiography as a necessary first step in creating a complete history of American music. -
MOSAIC: FACULTY SPOTLIGHT ' " O R
University of Washington ,~ B THE SCHOOL OF MUSIC lW , 20 '-I ,..... Presents _-/2. iI'" .. ...... MOSAIC: FACULTY SPOTLIGHT ' " o r With performances by Michael Brockman Kyung Sun Chee Tom Collier Jay Easton Arthur Grossman Don Immel David Kappy Robin McCabe William McColl Doug Miller Steven Novacek Christopher Olka Marc Seales Craig Sheppard Vern Sielert Allen Vizzutti 7:30PM February 12,2004 MEANY THEATER "D,/'f-f.:n:- It,S-~ 1 CD.1F lit, 5S'j .... ,,~ PROGR A M [0 KvnIN MCCABE and CRAIG SHEPPARD, piano four-hands '2... H UNGARIAN D ANCE NO 6 IN IY MA JOR ........................... JOHANNES BRAHMS CD1F 1 ~.:)5'$ 3 SLA VONIC D ANCE No 1 IN C M AJOR. OPUS 46 ................ ANTONIN DVORAK FACULTY JAZZ ENSEMBLE I SLA VONIC DANCE NO. 8 IN G MINOR, 'FURIAlvT' ............. ANTONIN DVORAK 1- €/y\[c (e.. []JCOWl~~, ~~1Wt1 . @ SqV~ l l.(\. 1;' . • L. Bc~ lO __ - d Y' t, c;,. Sm ve~'"; ~&')ne..(,.! . FACULTY BRASS QUINTET t ,.31 Don Immel, trombone David Kappy, French horn Christopher Olka, tuba Vern Sielert, trumpet Allen Vizzutti, trumpet KYUNG SUN CHEE, violin ~ PRELUDE AND PRESTO FOR BRASS QUlNTET.. .... :/~Z~.. I .............. ALLEN VIZZUTTI ~(O'{G '~~~S A- PI .eV\T~ I { ; Lfj- ~OMAN ..........•.• .... h/..\t.'f.?............... ......... ........... .JOEL-FRAN<;:OIS DURAND The TUBAX MIRABILIS TRIO is made up of artists who have mastered STEVEN NOVACEK, guitar these unusual instruments, old and new: William McColl will perform on his sopranino clarinet in G, an 3 J.7OYUNBABA ............., '..2........'' :, .I. CARLO DOMENICONI instrument he has built himself in reference to mid-19th century Vien nese examples. It was used in folk music and military music. -
7619990104068.Pdf
Franz Xaver Richter Johann Stamitz Flute Concertos & Trios Jana Semerádová transverse flute Ensemble Castor Petra Samhaber-Eckhardt, Recording: 14-16 February 2019, Landesmusikschule, Ried (Austria) Monika Toth violin Recording producer, digital editing & mastering: Uwe Walter Executive producer: Michael Sawall Peter Aigner viola Layout & booklet editor: Joachim Berenbold Translation: Katie Stephens (English) Peter Trefflinger violoncello Cover picture: “Boy playing the flute“, Judith Leyster (early 1630s), Nationalmuseum Stockholm Barbara Fischer violone + © 2019 note 1 music gmbh, Heidelberg, Germany CD manufactured in The Netherlands Erich Traxler harpsichord Franz Xaver Richter (1709-1789) Franz Xaver Richter Flute Concerto in E minor Harpsichord Trio in D major for transverse flute, strings & b.c. for obbligato harpsichord, violin & cello 1 Allegro moderato 9:09 10 Allegretto 7:18 2 Andantino 7:33 11 Larghetto 6:49 3 Allegro, ma non troppo 4:15 12 Presto, ma non troppo 3:00 Trio Sonata Op. 4 No. 1 in B flat major Harpsichord Trio in G minor for 2 violins & b.c. for obbligato harpsichord, violin & cello 4 Allegro brillante 3:25 13 Andante 7:37 5 Poco andante gracioso 5:23 14 Larghetto - Un poco andante 4:39 6 Allegro 2:39 15 Allegro, ma non troppo 3:02 Johann Stamitz (1717-1757) Flute Concerto in G major for transverse flute, strings & b.c. 7 Allegro moderato 6:07 8 Adagio 4:53 9 Presto 4:01 Was haben die Medici, die gleichsam wohlha- ein beträchtliches Vermögen verfügen konnte. erkannte Karl Theodor das repräsentative Einer der Vorreiter des neuen musikalischen bende und einflussreiche Bankiersfamilie aus Einer Überlieferung zufolge soll Anna Maria Potential der Instrumentalmusik. -
Still on the Road Session Pages 1967
STILL ON THE ROAD 1967 RECORDING SESSIONS MARCH – MAY Byrdcliffe, New York Red Room, Bob Dylan's Home MAY – OCTOBER West Saugerties, New York Big Pink's Basement, Stoll Road OCTOBER Woodstock, New York Wittenberg Road, Rick Danko's & Levon Helm's Home 17 Nashville, Tennessee Columbia Studio A, 1st John Wesley Harding session NOVEMBER 6 Nashville, Tennessee Columbia Studio A, 2nd John Wesley Harding session 29 Nashville, Tennessee Columbia Studio A, 3rd John Wesley Harding session Bob Dylan recording sessions 1967 1620 Red Room Bob Dylan's Home Byrdcliffe, New York March-May 1967 1. Edge Of The Ocean 2. My Bucket's Got A Hole In It (Clarence Williams) 3. Roll On Train 4. Mr. Blue 5. Spanish Is The Loving Tongue (Charles Badger Clark / Billy Simon) 6. Under Control 7. Ol' Roison The Beau (trad, arr. by Bob Dylan) 8. I'm Guilty Of Loving You 9. Cool Water (Bob Nolan) 10. The Auld Triangle (Brendan Behan) 11. Poor Lazarus (trad, arr. by Bob Dylan) 12. Johnny Todd (trad, arr. by Bob Dylan) 13. Rock, Salt And Nails (Bruce Phillips) 14. Confidential (Dorinda Morgan) 15. Confidential (Dorinda Morgan) 16. 2 Dollars And 99 Cents 17. Jelly Bean 18. Any Time 19. Down By The Station 20. Hallelujah, I've Just Been Moved (trad, arr. by Bob Dylan) 21. That's The Breaks 22. Pretty Mary 23. Will The Circle Be Unbroken (A.P. Carter) 24. King Of France 25. She's On My Mind Again 26. On A Rainy Afternoon 27. I Can't Come In With A Broken Heart 28.