Bandleader Remembered

Total Page:16

File Type:pdf, Size:1020Kb

Bandleader Remembered THE SAX FRANCISCO CALL, THURSDAY. DFXEMBER 24, 1903. 3 MUSIC-LOVING PEOPLE OF CITY CROWD NEW TIVOLI OPERA-HOUSE AND ARE HIGHLY PLEASED WITH THE SPLENDOR OF SURROUNDINGS Theater Is Opened With Christmas Handsomely Gowned Women Fill Spectacle That Pleases Auditorium and Present Big Audience. Animated Scene. prettiest in opened opera at opening of the Bonnet. Dr. John Morrissey. Mr. and The theater town decided that the old Tivoli comic The audience the Lang. company good Mrs. M. A. last night, its name the new Tivoli. was about as as there new Tlvoll was thoroughly representa- Mrs. 'A. E.. Coxen. Miss Coxen. Bert going. There wasn't a thing to was tive. It was cosmopolitan in the ex- Coxen. John Hind. A. Friedlander. John remind of tbe The additions, however, are valuable. Lynch. Jeremiah Burke, Mme. E. Tojetti. farrous old house only treme, just such an audience that San Guldo Musto, across ths way Anna Lichter is an old favorite and Musto. Laura Mr. and Francisco turns out to do honor and Mrs. John P. Barrett. Miss Tillle Lo- Frederick McGreer's fine drop curtain. looking prettier than ever, and Schus- Mr. justice any adjunct wenthal. and Mrs. M. Dannebaum. The cheerful— and kippered— scarlet ter's big basso willbe handsomely use- to great that is Dr. and Mrs. E. L. PerrauU. Miss May green put forth the city's enlightenment Schlessinger. Joseph Gottlob. Melville and of it has given way to a ful when he gets something to do with for Marx. Mr. and Mrs. Archie Levy. Ho- favorably aggrandisement. phase of delicate pistache and goia, the crook- it. Bessie Tannehill is also and Every ratio Stoll. Charles Farrell. Dr. E.. S. known here for her work with the character was there. The leading Howard and wife. Dr. and Mrs. Durbin kr.ee chairs to luxurious eeats, the T. J. McLaughlin. Mr. Dunne & Ryley company, and Wallace lights musical, Miller. and Mrs. small stage to largest from the social and lit- Andrew Christiansen. Mr. and Mrs. the Becond In Brownlow, the new barytone, shows a erary Alexander Center. Mr. and Mrs. town, world were all there in large Daniel and the queer old auditorium to good voice, handsome presence and the numbers. Among those in the great Barr. Mr. and Mrs. E. Oppenheimer. one Sam Jacoby. Mr. and Mrs. J. Looney. N. of the finest in America. For the ease of experience. audience were: Ahrens. E. Getz. J. Liebes. Mr. and Mrs. must of thirty years* beer and smoke Mr. Stelndorff drew first blood in the Mr. and Mrs. Crellins (Madame d'Ar- Claus Spreckels. Mr. and Mrs. Arnold applause. The popular conductor was ville) party, included: Pollak. S. S. Alton and party. Mayor E. there is the smell of fresh paint, for and which Mr. E. C. L. Ackerman and party. warmly cheered as he took up the Dean, Emily Schmitz. the crush of tiny foyer and Mrs. Walter Miss Ha- Ed Ackerman and party, M. Meyerfeld the old the baton. Then Annie Myers, -who Is the T. Jr. and Mrs. Ernestine Kreling spaciousness ger, Miss Ethel Hager, Mr. and Mrs. party. of fine promenades. There Ixionof the cast, came In for a hearty Van Ness, Miss Daisy Van Ness, W. T. and party. Mr. and Mrs. Lecn Juda. are perhaps a same plump and Mr. and Mrs. David ¦ Davidson. M. half dozen seats In the round. Annie is the Sproule, Horace Platt Louis L. family. yore, and Brown and A. Brown and fam- house from which the sta^e may not piquant person as of but even Wilson. ily.Mr. and Mrs. Abrahams. Miss Pearl be fully seen; this' gingery cannot do Abrahams, Mr. and Mrs. Clinton Day. there are none where little soubrette Judge Lowe, Judge everything may much with Ixion. Then followed Hart- C. A. and Mrs. T. James Leahy and party. Charles Krause. not be admirably F. Graham. Judge Sanderson. Judse William McCormack and friends and S. heard. Acoustically new man, who also hasn't enough to do with Lawlor. Mr.and Mrs. J. H. Maedonald. P. the theater case, Moore. is as fine as the Gr,eek Theater in the to the tune of a warm wel- Mr. and Mrs. James F. McNulty. S. Ben»- come. in turn was bo greeted; hard and family. Mr. and Mrs. William Berkeley. Ferris Hartman looms Each In Cluff and family. Mr. and Mrs. Holbrook OREGON* LEGISLATORS even fact, clapped up as something the audience whenever it and party, William Newhouse. -Hugo COMPI^ETE within shouting dis- a TIIEIR LABORS barytone. had chance. Newhouse, Mr. and Mrs. A. Kutner. M. tance cf a Can more be said? Webb the tingle opportunity of Levy, Mr. and Mrs. B. M. Alexander. Everybody -was there, has Mrs. L. Carpenter, Phil Beel. James Re-enact the Old Tax Law and Appro- three thousand the piece, and is ravishingly funny as G. of them, comfortably crowded the Fenell and party. Christopher Schmidt. priate $100,000 to Right into Minerva, in a blade psyche knot, and Mr. and Mrs. Jesse Meyerfeld, Herbert Purchase new theater. The play was not the breastplate. He drew the first laugh Meyerfeld. William Greenbaum, Mr. and of Way for a Canal. thing cfght— — * last rather luckily for and most of tbe rest, and certainly Mrs. Louis Roesch. Rabbi M. S. Levy, SALEM, Or.. Dec. 23. The extraor- Ixion." It was the Colonel R. de Clalnnont, Charles Brown. theater. It was makes the most of his material. He Dunne, Coghlan, dinary Legislature, opening Judge Frank John session of the State the night of a house that from has some good one particularly, Julius Brownstein. Ed Hamilton. Ashton its heredity songs; called primarily to enact remedial should make history of the "Oh. Be Careful," hilariously en- Stevens, Mr.and Mrs. James Prior, Mr. was and Mrs. D. Hirsler, William H. laws to the tax laps, which in noblest for our city. And nobody cored. Arthur Cunningham an- Metzen. thfir it has Louis F. King, James P. Wainright. Dr. provide levy- missed who was able to get in. other good song. "When Jupiter Mrs. Frank Dr. present state fail to for Musicians, managers Leads and D'Ancona. Marston. theater and the His Own Brigade." He is in fine form .Grant Selfridge. Leo Alexander. L. Auer- Ing and collecting any taxes for the great army music Pietro Mr. and Mrs. JE. L. o' lovers were out and set the heels stamping to his spirit- bach. Marino. ensuing year, came to an end just be- :n force, Mayor Head. Dr. William Friedhofer, Adolph with the at the head. ed song. Wallace Brownlow Is cast as Speck. John McNaught. fore midnight to-night, re-enact- It was r.or wholly Cahen. A. M. after the fault of "Ixion" Apollo no great to Michael Alexander. Mr. and Mrs. John ing law, spectacle and has chance show Ledwig. the old tax appropriating that the fell somewhat fiat. his mettle. He a pleasant, Mr. and Mrs. H. Bier. S. Kla- $100,000 way The has rather renmeyr, Mr. and Mrs. Max Gans, Miss to purchase a right of occasion was felt to be grand op- light barytone, as said, eratic. The and before — the Mildred Newman. Mr. and Mrs. Chris for the Government's ship canal audience was a grand-op- manner of an accomplished actor also, Schmid. Mr. ana Mrs. J. W. Taber. Miss around The Dalles of the rra audience, Mayor Taber, Mr. and Mrs. Columbia and Schmitz's a penchant for stepping upon trains. Isidore Meyer. A. passing a speech pitched in grand-opera Goldstein. Dr. T. A. Rottanzi. Louis River and number of bills key. Anna Lichter's one song was one of the of importance. Many And -'Ixlcn" is only a Haas. Edward Parker. Robert Foster. C. minor of th« Christmas ex- bright spots of the evening. She is cast F. A. Sturtz. Mr. and Mrs. J. Steppacher, members of the House have left travaganza and net one of the best in • Mr. and Mrs. Morton L. Mrs. H. for as Juno— though it makes no differ- Cook. their homes and to-morrow will see its present shape that the Tivolipeople ence. Grimm. John Hamilton Gilmour. Mr. and Others of the cast are Eunice Mrs. and J. G. the last of them depart. A bill to have given. a and L. Asch. Mr. Mrs. Gliman. clever small girl; Aimee Lei- Mansfield. W. L. Sterett. Mr. and Mrs. place the Governor and other S^ate must be allowed for. though. Burns, Sylvia cester. Flora Norris. Nettie Deglow and Thomas Miss Solomon. officials on a flat salary was pas3ed ApeMuch^will doubtless improve the specta- a tiny premiere Miss Alice Sorrells, Louis Metz- • danseuse. Baby Agnes ger, and by to-night, •">. As it is hot. however, it looks as Russell. M. F. Perkins. Mr. Mrs. the House but when it if every one L. Newbauer. Mrs. Belle Levy, Mr. came to the Senate it went down to but Teddy Webb had left But the ballets are William Duffy. S. L.Ackerman, their up the chief attrac- and Mrs. defeat. An act designed to regulate fun at the o!d Tivoli. Even tion of the piece. They Mr. and Mrs. E. H. Carson. Mrs. Her- are excellently Perley. Mr. and Mrs. Charles Carpy. transportation traffic, Ferris Hartman looked afraid of the planned man railroad and fresh pa!nu and prettily executed. One, Mr. and Mrs. Edwin W. Joy. Mr. and principally to compel railroads in But the piece itself hardly the -Wines California," Cives the cast of in which Mrs.
Recommended publications
  • Black US Army Bands and Their Bandmasters in World War I
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent.
    [Show full text]
  • 1 Women Conductors: Credibility in a Male-Dominated Profession KAY LAWSON
    1 Women Conductors: Credibility in a Male-Dominated Profession KAY LAWSON At one time the mere suggestion that a woman is capable and more than qualified to lead an orchestra would have brought exclamations of disbelief, perhaps even chuckles muffled behind a discreet hand to the mouth. The nineteenth-century "beau ideal" of the conductor as the musical world's flamboyant, handsome cult hero continues to prevail even today in the minds of audiences, thus making it difficult for conductors not in that mold to gain prominence. Recent attention accorded women conductors might give the impression that they are a phenomenon of the twentieth century, but this is clearly not the case. Tracing the historical path of conducting to its source, we find that modem conducting may have had its beginnings in the convent of St. Vito, a nunnery renowned for its musical performances. Bottrigari, in his publication of 1594, Il Desiderio, described a performance given there: A long table has been prepared, at one end of which is a large clavicembalo, you would see them enter one by one, quietly bringing their instruments, either stringed or wind. They all enter quietly and approach the table without making the least noise and place themselves in the proper place, and some sit, who must do so in order to use their instruments, and others remain standing. Finally, the Maestra of the concert sits down at one end of the table; and with a long, slender and well-polished wand (which was placed there ready for her, because I saw it) and when all the other sisters are clearly ready, gives them without noise, several signs to begin, and then continues by beating the measure of time which they must obey in singing and playing.' Most historical references to the earliest examples of musical leadership in­ dicate that a group of performers was kept together by a leader who beat time by hand or by pounding with a stick.
    [Show full text]
  • Season 2016-2017
    25 Season 2016-2017 Thursday, April 6, at 8:00 Friday, April 7, at 2:00 The Philadelphia Orchestra Saturday, April 8, at 8:00 Sunday, April 9, at 2:00 Yannick Nézet-Séguin Conductor Mason Bates Electronica Daniil Trifonov Piano Beethoven Overture and Finale, from The Creatures of Prometheus, Op. 43 Bates Alternative Energy I. Ford’s Farm, 1896— II. Chicago, 2012 III. Xinjiang Province, 2112 IV. Reykjavik, 2222 First Philadelphia Orchestra performances Intermission Mozart Piano Concerto No. 9 in E-flat major, K. 271 (“Jenamy”) I. Allegro II. Andantino III. Rondeau (Presto)—Menuetto (Cantabile)— Liszt Prometheus, Symphonic Poem No. 5 This program runs approximately 2 hours, 5 minutes. LiveNote™, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. The April 6 concert is sponsored by American Airlines. The April 7 concert is sponsored by Sarah Miller Coulson. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. 27 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The Orchestra’s award- orchestras in the world, to discover new and winning Collaborative renowned for its distinctive inventive ways to nurture Learning programs engage sound, desired for its its relationship with its over 50,000 students, keen ability to capture the loyal patrons at its home families, and community hearts and imaginations of in the Kimmel Center, members through programs audiences, and admired for and also with those who such as PlayINs, side-by- a legacy of imagination and enjoy the Orchestra’s area sides, PopUP concerts, innovation on and off the performances at the Mann free Neighborhood concert stage.
    [Show full text]
  • The Relationship of the Transformational Leadership Process and Group Mood Among Musicians and Their Effects on Artistic Quality
    THE RELATIONSHIP OF THE TRANSFORMATIONAL LEADERSHIP PROCESS AND GROUP MOOD AMONG MUSICIANS AND THEIR EFFECTS ON ARTISTIC QUALITY WITHIN THE AMERICAN ORCHESTRAL ORGANIZATION By Mary Katherine Engels Elizabeth K. Crawford James A. Tucker Associate Professor Professor (Co-Chair) (Co-Chair) David W. Rausch Lee A. Harris Professor Professor (Committee Member) (Committee Member) THE RELATIONSHIP OF THE TRANSFORMATIONAL LEADERSHIP PROCESS AND THE RELATIONSHIP AMONG MUSICIANS AND THEIR EFFECTS ON ARTISTIC QUALITY WITHIN THE AMERICAN ORCHESTRAL ORGANIZATION By Mary Katherine Engels A Dissertation Submitted to the Faculty of the University of Tennessee at Chattanooga in Partial Fulfillment of the Requirements of the Doctorate of Learning and Leadership Degree The University of Tennessee at Chattanooga Chattanooga, Tennessee May 2018 ii Copyright © 2018 By Mary Katherine Engels All Rights Reserved iii ABSTRACT The desire to understand the American classical music experience and its relationship to transformational leadership is the foundational reason for this study. The experience of listening to the same orchestra under the direction of nine different conductors throughout the Chattanooga Symphony & Opera’s conductor search, led to an interest in further understanding the processes involved in the classical musical experience. There is minimal research focused on the American symphony orchestra and an acute lack of research on leadership processes within the American symphony orchestra. Examination and study of the leadership process between conductor and musician, musician group mood, and artistic quality are all considerations in understanding the classical musical experience. The research design for this study was a quantitative design using simple correlation analysis. The intent of this study was to understand how the independent and dependent variables covary, and therefore a non-experimental, associational approach was used (Gliner, Morgan, & Leech, 2009).
    [Show full text]
  • THE ART of CARLOS KLEIBER Carolyn Watson Thesis Submitted In
    GESTURE AS COMMUNICATION: THE ART OF CARLOS KLEIBER Carolyn Watson Thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Conservatorium of Music University of Sydney May 2012 Statement of Originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: Carolyn Watson Date: ii Abstract This thesis focuses on the art of orchestral conducting and in particular, the gestural language used by conductors. Aspects such as body posture and movement, eye contact, facial expressions and manual conducting gestures will be considered. These nonverbal forms of expression are the means a conductor uses to communicate with players. Manual conducting gestures are used to show fundamental technical information relating to tempo, dynamics and cues, as well as demonstrating to a degree, musical expression and conveying an interpretation of the musical work. Body posture can communicate authority, leadership, confidence and inspiration. Furthermore, physical gestures such as facial expressions can express a conductor’s mood and demeanour, as well as the emotional content of the music. Orchestral conducting is thus a complex and multifarious art, at the core of which is gesture. These physical facets of conducting will be examined by way of a case study. The conductor chosen as the centrepiece of this study is Austrian conductor, Carlos Kleiber (1930-2004). Hailed by many as the greatest conductor of all time1, Kleiber was a perfectionist with unscrupulously high standards who enjoyed a career with some of the world’s finest orchestras and opera companies including the Vienna Philharmonic, La Scala, Covent Garden, the Met and the Chicago Symphony.
    [Show full text]
  • Gender Inequality in Conducting Cassandra Venske  Faculty Mentor: Dr
    Gender Inequality in Conducting Cassandra Venske Faculty Mentor: Dr. Gretchen Peters Music and Theatre Arts University of Wisconsin-Eau Claire Collegiate Ensemble Conductors in Wisconsin Sexism at the Professional Level I gathered data from all of the National Association of Schools of Music accredited post- “When the Oslo-based newspaper Aftenposten asked why there aren't more female secondary institutions in Wisconsin that had at least one large ensemble comprised of conductors… Vasily Petrenko, responded that male conductors ‘often have less sexual solely student membership (defined as concert band, orchestra, or a large choir) and the energy and can focus more on the music. A sweet girl on the podium can make one's gender of the conductors of each ensemble for the present academic school year, 2013- thoughts drift towards something else .’” (Woolfe 2013) 2014. Male Female “The essence of the conductor's profession is strength. The essence of a woman is weakness .” –Yuri Temirkanov, Russian conductor, 2012 Unfortunately, these quotes are only a few amongst many things said about the (in)ability 100 of women to be successful professional conductors. Criticisms of female conductors most 89.3 often come down to forms of objectification and/or essentializing. 87.75 86.66 71.3 70 Women’s Experiences in Conducting Boards of directors often associate female conductors with risk, even if their talent is equal to another male conductor, as Sarah Ioannides, current music director of El Paso PERCENTAGE Symphony Orchestra and Spartanburg Symphony Orchestra found out when she was 30 29.7 next in line for a job, but it was not offered to her.
    [Show full text]
  • This Is the Published Version of a Paper
    http://www.diva-portal.org This is the published version of a paper presented at IEEE Conference on Automatic Face and Gesture Recognition. Citation for the original published paper: Karipidou, K., Ahnlund, J., Friberg, A., Alexandersson, S., Kjellström, H. (2017) Computer Analysis of Sentiment Interpretation in Musical Conducting. In: IEEE Conference on Automatic Face and Gesture Recognition N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-208886 Computer Analysis of Sentiment Interpretation in Musical Conducting Kelly Karipidou1? Josefin Ahnlund1? Anders Friberg2 Simon Alexanderson2 Hedvig Kjellstrom¨ 1∗ 1 Robotics, Perception, and Learning, KTH, Sweden, fkellyk,jahnlund,[email protected] 2 Speech, Music, and Hearing, KTH, Sweden, fafriberg,[email protected] ? KK and JA have contributed equally to the paper ∗ HK is corresponding author Abstract— This paper presents a unique dataset consisting of 20 recordings of the same musical piece, conducted with 4 different musical intentions in mind. The upper body and baton motion of a professional conductor was recorded, as well as the sound of each instrument in a professional string quartet following the conductor. The dataset is made available for benchmarking of motion recognition algorithms. An HMM-based emotion intent classification method is trained with subsets of the data, and classification of other subsets of the data show firstly that the motion of the baton communicates energetic intention to a high degree, secondly, that the conductor’s torso, head and other arm conveys calm intention to a high degree, and thirdly, that positive vs negative sentiments are communicated to a high degree through other channels than the body and baton motion – most probably, through facial expression and muscle tension conveyed through articulated hand and finger motion.
    [Show full text]
  • Helmut Schmidt, Bundeskanzler A. D
    Helmut Schmidt, Bundeskanzler a. D. Essay to present the Ernst von Siemens Music Prize to Christoph Eschenbach on May 31st, 2015 at the Herkulessaal in Munich Music is a form of expression that people all over the world understand. And almost everywhere in the world people love European music. The music of Europe constitutes a single one-of-a-kind continuum, it doesn't require the complex, nationally determined medium of language. For this reason, it enables musicians and listeners alike to forget the conflicts of their inheritance and of their day-to-day lives. My love for music was encouraged early on, when I was in school. It is probably for this reason that I, in the course of my career as a politician and a private individual, valued the opportunity to encounter members of the international music community. Many left a lasting impression on me. I'd like to mention Herbert von Karajan, a brilliant artist with whom one could discuss God and the world. Or Leonard Bernstein, who was a music educator as much as he was a musician. Or Yehudi Menuhin, who was both a musician and a model of morals. Or the incredibly vital Kurt Masur, a wonderful Kapellmeister as well as an imposing figure, also in the political sphere. Or the wonderful conductor Daniel Barenboim, who brings musicians from conflicting societies together and gives them a forum to make music together. Or Kent Nagano, who will be coming to Hamburg in 2016. The list could go on and on. Among these ranks of internationally acclaimed musicians and conductors I'd certainly also count Christoph Eschenbach.
    [Show full text]
  • New Jersey Symphony Orchestra Welcomes New Musicians and Artistic Staff
    New Jersey Symphony Orchestra Press Contact: Victoria McCabe, NJSO Senior Manager of Public Relations & Communications 973.735.1715 | [email protected] www.njsymphony.org/pressroom FOR IMMEDIATE RELEASE New Jersey Symphony Orchestra welcomes new musicians and artistic staff David Southorn joins as Assistant Concertmaster; violinist Adriana Rosin also named Assistant Concertmaster New musicians since 2015 include violinists JoAnna Farrer, Minji Kwon and Bryan Hernandez-Luch, and cellist Hyewon Kim Na-Young Baek assumes role of Acting Assistant Principal Cello Patrick Chamberlain joins NJSO as Director of Artistic Planning NEWARK, NJ (October 4, 2016)—The New Jersey Symphony Orchestra has welcomed new musicians and artistic staff to the Orchestra. In the 2016–17 season, David Southorn joins the Orchestra as Assistant Concertmaster; NJSO first violinist Adriana Rosin has also been named Assistant Concertmaster. Since 2015, the Orchestra has welcomed violinists JoAnna Farrer, Minji Kwon and Bryan Hernandez-Luch, as well as cellist Hyewon Kim. This season, longtime NJSO cellist Na- Young Baek assumes the role of Acting Assistant Principal Cello. NJSO Director of Artistic Planning Patrick Chamberlain assumed his new position in July. Assistant Concertmaster David Southorn currently enjoys a versatile career as a concertmaster, soloist and chamber musician. Recent solo highlights include a performance of Beethoven’s Violin Concerto with the Fremont Symphony in California and works of Vivaldi and Piazzolla with Le Train Bleu in New York City during the 2015–16 season. As a chamber musician, he has performed recently with his award-winning Amphion String Quartet at Alice Tully Hall as members of The Chamber Music Society of Lincoln Center’s CMS Two.
    [Show full text]
  • The Orchestra
    Lesson: THE ORCHESTRA Objective: Students will identify the structure of the orchestra including the seating, arrangement, and four instrument families. Materials: Orchestra worksheet treasure hunt (included in this packet) LESSON Like a ship, the symphony orchestra is a large vessel made up of many small parts. Each part has its own special and important purpose, and it took more than three centuries for the symphony to finally take on its current shape. There are four families of instruments in the symphony orchestra: Strings, Woodwinds, Brass, and Percussion. These families of instruments are very different from one another in the way that they sound and the way that they are played. This makes seating arrangements very important! EXERCISE 1: “Can you name the instruments in each family?’’ Preface: Students decide which instruments belong to a particular family. Have students name off each family to review: A) Strings: Violin, Viola, Cello, Bass, Harp B) Woodwinds: Flute, Oboe, Clarinet, Bassoon (Saxophone is a woodwind, but not typically found in the orchestra) C) Brass: Trumpet, French Horn, Trombone, Tuba (Baritone is brass, but also not typically found in the orchestra) D) Percussion: Cymbals, Timpani, Bass Drum, Snare Drum, Xylophone, Piano (anything that makes a sound when struck, scraped, or shaken) A Special Thanks to our Young People’s Concert Sponsors EXERCISE 2: Treasure Hunt Young Mozart has lost his favorite conducting baton and cannot seem to find it anywhere. He has been given a clue that says that the baton can be found, stuck in the tuba. But Teachers: This where does the tuba sit? Help Mozart figure out where members of the orchestra sit so he handout is available can get his baton back.
    [Show full text]
  • Historic Baton Presented to ESO Music Director Eckerling — Evanston
    Historic Baton Presented to ESO Music Director Eckerling — Evanston ... http://triblocal.com/evanston/community/stories/2012/03/historic-baton-p... By David Ellis Sunday at 7:42 p.m. Lawrence Eckerling with Shirley Miller and the Toscanini/Frank Miller Baton Historic Baton Presented to Conductor of Evanston Symphony Orchestra Evanston, IL (March 11, 2012) — An historic baton used by legendary conductor Arturo Toscanini was presented to Evanston Symphony Orchestra Music Director Lawrence Eckerling at the orchestra’s concert today in Pick-Staiger Concert Hall in Evanston. Making the presentation was Shirley J. Miller, wife of the late Frank Miller, who was the former conductor and music director of the Evanston Symphony. Miller, who died in 1986, would have been 100 years old on March 5, 2012. Mrs. Miller chose to present the baton to Maestro Eckerling in recognition of the performance quality that he has brought to the Evanston Symphony Orchestra since taking over as Music Director in 2003. Miller, a cellist, had an illustrious musical career. From 1940 to 1954, he was principal cellist for Toscanini’s NBC Symphony Orchestra. When ill health forced Toscanini to retire in 1954, the NBC Orchestra ceased to exist. The famous maestro gave Miller several batons, which were created for Toscanini by his neurosurgeon. Toscanini also wrote only one letter of recommendation during his entire career; it was in support of Frank Miller’s candidacy for conductor of the Florida Symphony Orchestra. Miller was principal cellist for the Chicago Symphony Orchestra from 1958 to1985. While with the Chicago Symphony, he was appointed music director of the Evanston Symphony Orchestra in 1962, a post he held until 1984.
    [Show full text]
  • Maestro Keith Lockhart Residency Program
    Wright State University CORE Scholar Keith Lockhart Residency A Long Long Way: Echoes of the Great War 3-2015 Maestro Keith Lockhart Residency Program CELIA Follow this and additional works at: https://corescholar.libraries.wright.edu/celia_lockhart_residency Part of the Arts and Humanities Commons Repository Citation CELIA, "Maestro Keith Lockhart Residency Program" (2015). Keith Lockhart Residency. Book 1. https://corescholar.libraries.wright.edu/celia_lockhart_residency/1 This Program is brought to you for free and open access by the A Long Long Way: Echoes of the Great War at CORE Scholar. It has been accepted for inclusion in Keith Lockhart Residency by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. MAESTRO KEITH LOCKHART of the Boston Pops and BBC Concert Orchestra 2014–15 Wright State University Distinguished Visiting Artist March 9–14, 2015 MAESTRO KEITH LOCKHART of the Boston Pops and BBC Concert Orchestra 2014–15 Wright State University Distinguished Visiting Artist March 9–14, 2015 Monday, March 9 10 a.m.–noon Master Class: WSU Percussion Ensemble (Schuster Hall) Tuesday, March 10 10 a.m.–noon Master Class: WSU Student & Faculty Piano Trios (Schuster Hall) Wednesday, March 11 10–11:30 a.m. Master Class: WSU Voice Students (Schuster Hall) Thursday, March 12 1–3 p.m. Voices of World War I: Maestro Keith Lockhart & Dr. Paul Lockhart (Schuster Hall) Friday, March 13 10–11 a.m. Open Forum and Q&A with Students (Schuster Hall) 7 p.m. Take Note Pre-Concert Lecture: Dr. Paul Lockhart 8 p.m. Britten’s War Requiem Performance (Schuster Center, Downtown Dayton) Saturday, March 14 7 p.m.
    [Show full text]