DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 14, 1894-1895

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 14, 1894-1895 m A NOTABLE TRIBUTE TO THE /EOLIAN From Boston's Distinguished Musicians, Mr. and Mrs. Emil Paur iimiiiiiiiiimiiiiiiiiiiiiiini " I shall be glad to have you add my name to the notable list of musicians and critics who have commended your admirable instrument. " I believe that the ^Eolian is destined to become a most potent factor in the cultivation of the musical taste of the people of the world. " Please accept my hearty wishes for its well-merited success. "EMIL PAUR." " It is really admirable how a person can in a short time, by the aid of the ^Eolian, familiarize himself with the works of the great masters, and execute them with perfection in all their details. "The yEolian is of great help to those studying composition; for, not being able to have an orchestra at their disposal to execute the great classical works, with the ^Eolian they can study the orchestral effects with a precision impossible to be obtained on any other musical instrument. "Mrs. MARIE PAUR." The AEOLIAN appeals to every music lover for both pleasure and education. We exhibit the iEolian daily, and cordially invite all patrons of the Symphony con certs to investigate it. Jte0tt&laralm Opp. Common. 146 Boylston Street, BOSTON DOStOfl Music Hall,—Boston II C 11I|/IIwIIti *-* J J' mm FOURTEENTH SEASON, Orchestra EMIL PAUR, Conductor. PROGRAMME OF THE Twenty-third Rehearsal « Concert WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP. Friday Afternoon, April 19, At 2.30 o'clock. Saturday Evening, April 20, At 8 o'clock. PUBLISHED BY C. A. ELLIS, MANAGER. * (881) PIANOFORTES REPRESENT THE SAME HIGHEST STANDARD OF EXCELLENCE WHICH HAS ACHIEVED A REPUTATION FOR THEIR ORGANS AS THE Standard of the World l. P. HOLLANDER & CO. GREAT SUCCESS OF OUR NEW DEPARTMENT FOR LADIES' READY-MADE DRESSES, ON THIRD FLOOR. Finest finish and Materials equal to order work, at surprisingly low values. Three of our principal leaders are a Tailor Gown in fancy Cheviots ditto, and Serges, all on Silk, for $33-50 J finest quality Whipcords, in blues and browns, $38-50 j and a Mohair Brilliantine Costume in black and colors, all on Silk, $25.OO. This latter material is the greatest fashion at the present time in London and Paris. FURS STORED AND INSURED. 202 to 212 BoylstoYi Street, and Park Square. (882) " Twenty-third Rehearsal and Concert- Friday Afternoon, April 19, at 2.30. Saturday Evening, April 20, at 8.00. PROGRAMME. Luigi Cherubim - Overture to " The Water-Carrier George Frideric Handel - Air, "As when the dove," from "Acis and " Galatea (Additional accompaniments by OTTO DRESEL.) Camille Saint-Saens - Symphonic Poem No. 4, " La Jennesse d'Hercule,' Op. 50 Vincenz Lachner - Concert Aria, " Vineta," Op. 80 (First Time.) Robert Schumann - Symphony No. 4, in D minor, Op. 120 I. Ziemlich langsam (D minor) - - - 3-4 Lebhaft (D minor) ------ 2-4 II. Romanze: Ziemlich langsam (D minor) - - 3-4 III. Scherzo : Lebhaft (D minor) - 3-4 Trio (B-flat major) - - 3-4 IV. Langsam (D minor) - - 4-4 Lebhaft (D major) - - - - - - 4-4 Soloist, Miss CAROLINE GARDNER CLARKE. (883) : MANUFACTURERS OF GRAND, SQUARE, AND UPRIGHT PIANOS EUGEN D'ALBERT: From fullest conviction, I declare them to be the best In- struments of America. ........ DR. HANS VON BULOW: Their sound and touch are more sympathetic to my ears and hands than all others of the country. I declare them the absolutely best in America. ....... ALFRED GRUNFELD: I consider them the best instruments of our times. P. TSCHAIKOWSKY: Combines with great volume of tone rare sympathetic and noble tone color and perfect action. WAREROOMS BALTIMORE, WASHINGTON, aa and 24 E. Baltimore Street. 817 Pennsylvania Avenue NEW YORK, 148 Fifth Avenue. OLIVER DITSON COMPANY, Sole Ag'ts, 453-463 Washington St., Boston. E. W. TYLER, Manager. (884) Maria Luigi Carlo Zenobi Salvatore Cherubini was born in Florence on September 8, 1760, and died in Paris on March 15, 1842. He was the son of a musician at the Teatro della Pergola. At the age of six he began to learn the elements of music, and at nine he was put under Bartolomeo Felici and his son Alessandro for harmony and thorough-bass. He next studied under Pietro Bizzarri and Giuseppe Petrucci, who also gave him some notions on the art of singing. In 1773 a mass and an inter- mezzo by him were given in Florence, followed by other successful works, so that the grand-duke Leopold II. gave him a pension in 1778 to enable him to study under Giuseppe Sard in Bologna. He worked hard for four years under this great master, who trained him thoroughly in all the subtle- ties of Italian counterpoint. At last Sarti even let Cherubini write the minor parts in several of his operas. Indeed, Sard's scores at this period abound in passages by Cherubini. Up to 1784 Cherubini brought out opera after opera with almost invariable success in Florence, Leghorn, Rome, Venice, and Mantua. He then went to London, where two new operas of his failed; thence to Paris, where he meant to settle, but was soon called to Turin, where his Ifigenia in Aulide met with great success. In 1787 he went back to London, and was made composer to the King. In 1788 he went to Paris, where he brought out his first French opera, Demophon, but without success, Johann Christoph Vogel's opera on the same subject distracting public attention from it. But, with Demophon, Cherubini entered upon his second manner, the highly finished, elaborate, and learned style by which he is now universally known. He, however, went back to his earlier, Italian manner for a time, writing several Italian operas, until, with Lodo'iska^ brought out in 1791, he completed and per- Alb/iie FOR BRAIN-WORKERS, THE WEAK AND DEBILITATED. Horsford's Acid Phosphate Is, without exception, the Best Remedy for relieving Mental and Nervous Exhaustion ; and, where the system has become debilitated by disease, it acts as a general tonic and vitalizer, affording sustenance to both brain and body. Dr. E. Cornell Easten, Philadelphia, Pa., says, "I have met with the greatest and most satisfactory results in dyspepsia and general derangement of the cerebral and nervous systems, causing debility and exhaustion." Descriptive pamphlet free. Rumford Chemical "Works, Providence, R.I. Beware of Substitutes and Imitations. (*85) LADIES' TAILOR. 256 Boylston Street, BOSTON RIDING HABITS. STREET GOWNS and COATS. BICYCLE and GOLF COSTUMES. NEW CLOTHS Of Every Description. NEW CLOTHS. HOMESPUNS, TWEEDS, VENETIANOS, SHETLANDS, etc. OYSTERS AND SALADS WEBER'S A SPECIALTY. 25 Temple PL and 33 West St. GENUINE VIENNA ICES. JACOB THOMA, Notman Photo. Co. VIOLIN MAKER, 3 a STUDIOS, B°S™. FROM VIENNA. | 480 Bo,lsloi'St J (Awarded a Prize Medal at the Vienna Exposition.) All the Newest Styles of Old Violins, Violas, 'Cellos, PHOTOGRAPHS: Artist Italian Strings, Silver G's, MEZZO-TINTS, Artist Bows, Paris Rosin, Violin Cases of all kinds, etc. IVORY FINISH, etc. INSTRUMENTS TAKEN IN EXCHANGE. Flash-light Pictures made at Residences. ARTISTIC REPAIRS A SPECIALTY. BOWS REHAIRED, WEDDING PARTIES. - FANCY DRESS PARTIES. Music Hall Building, Room 7, - BOSTON, DINNER PARTIES. Repairer for the Boston Symphony Orchestra. (R8fit " fected the change of style notable in his Demophon. The opera brought about an entire revolution in French dramatic writing, and Cherubini was enthusiastically followed in the path he had opened by Etienne-Nicolas Mehul,* Daniel Steibelt, Henri-Montan Berton, Jean-Francois Lesueur, and even Andre Gretry, then fifty years old. Lodoiska was followed by F/isa, Medee, and les deux Journees (better known in America by its German title, Der Wassertrdger), Cherubini's masterpiece. In 1805 Cherubini went to Vienna, where he wrote and produced his Faniska with overwhelming success, Haydn and Beethoven proclaiming him to be the " first dra- matic composer of the time." Some years later it was even considered utterly ridiculous when some persons ventured to predict that Beethoven's Fidelio would one day be considered "equal" to Cherubini's Faniska. Cherubini returned to Paris after the occupation of Vienna by the French. But Napoleon never favored him, and he soon retired to the country house of the prince de Chimay, where he devoted himself for a time to the study of botany. He returned, however, to composition after a while, devoting the remainder of his life to writing for the church. On the restoration of the House of Bourbon he went back to Paris, where he occupied several important government positions, the most noteworthy of which was his directorship of the Conservatoire from 1822 to his death. Cherubini was the last truly great contrapuntist of the so-called " beauti- " ful Neapolitan school, founded by Aiessandro Scarlatti ; he was also equally at ease in the stricter a cappella style of the so-called " great Roman school of the sixteenth century, of which Palestrina was the shining light. His greatest works undoubtedly belong to his church music ; but *For many years this composer's name was universally known as Etienne-Henri; the mistake in his middle_ name was discovered and rectified over half a century after his death. BENEFIT CONCERT By Pupils of the New England Conservatory of Music, CARL FAELTEN, Director. UNDER THE PATRONAGE OF Mrs. H. H. A. Beach of Boston. Mrs. Henry L. Higginson of Boston. Mrs. Ole Bull of Cambridge. Mrs. Julia Ward Howe of Boston. Mrs. Richard of H. Dana Cambridge. Mrs. Benjamin J. Lang of Boston. Mrs. Charles Fairchild of Boston. Mrs. George H. Palmer of Cambridge. Mrs. James T. Fields of Boston. Mrs. Henry Whitman of Boston. Mrs. Arthur Foote of Boston. Mrs. Roger Wolcott of Boston. And the Beneficent Society of the New England Conservatory of Music, Mrs.
Load more

Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • The Year's Music
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c.
    [Show full text]
  • Oscar Straus Beiträge Zur Annäherung an Einen Zu Unrecht Vergessenen
    Fedora Wesseler, Stefan Schmidl (Hg.), Oscar Straus Beiträge zur Annäherung an einen zu Unrecht Vergessenen Amsterdam 2017 © 2017 die Autorinnen und Autoren Diese Publikation ist unter der DOI-Nummer 10.13140/RG.2.2.29695.00168 verzeichnet Inhalt Vorwort Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................5 Avant-propos Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................7 Wien-Berlin-Paris-Hollywood-Bad Ischl Urbane Kontexte 1900-1950 Susana Zapke (Wien) ................................................................................................................ 9 Von den Nibelungen bis zu Cleopatra Oscar Straus – ein deutscher Offenbach? Peter P. Pachl (Berlin) ............................................................................................................. 13 Oscar Straus, das „Überbrettl“ und Arnold Schönberg Margareta Saary (Wien) .......................................................................................................... 27 Burlesk, ideologiekritisch, destruktiv Die lustigen Nibelungen von Oscar Straus und Fritz Oliven (Rideamus) Erich Wolfgang Partsch† (Wien) ............................................................................................ 48 Oscar Straus – Walzerträume Fritz Schweiger (Salzburg) ..................................................................................................... 54 „Vm. bei Oscar Straus. Er spielte mir den tapferen Cassian vor;
    [Show full text]
  • Orfeo Euridice
    ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities
    [Show full text]
  • The Pedagogical Legacy of Johann Nepomuk Hummel
    ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.
    [Show full text]
  • Le Temple De La Gloire
    april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 15 A co-production of Cal Performances, Philharmonia Baroque Orchestra & Chorale, and Centre de musique baroque de Versailles Friday and Saturday, April 28 –29, 2017, 8pm Sunday, April 30, 2017, 3pm Zellerbach Hall Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory) Opera in three acts with a prologue Libretto by Voltaire featuring Nicholas McGegan, conductor Marc Labonnette Camille Ortiz-Lafont Philippe-Nicolas Martin Gabrielle Philiponet Chantal Santon-Jeffery Artavazd Sargsyan Aaron Sheehan New York Baroque Dance Company Catherine Turocy, artistic director Brynt Beitman Caroline Copeland Carly Fox Horton Olsi Gjeci Alexis Silver Meggi Sweeney Smith Matthew Ting Andrew Trego Philharmonia Baroque Orchestra & Chorale Bruce Lamott, chorale director Catherine Turocy, stage director and choreographer Scott Blake, set designer Marie Anne Chiment, costume designer Pierre Dupouey, lighting designer Sarah Edgar, assistant director Cath Brittan, production director Major support for Le Temple de la Gloire is generously provided by Philharmonia Baroque Orchestra & Chorale supporters: David Low & Dominique Lahaussois, The Waverley Fund, Mark Perry & Melanie Peña, PBO’s Board of Directors, and The Bernard Osher Foundation. Cal Performances and Philharmonia Baroque Orchestra & Chorale dedicate Le Temple de la Gloire to Ross E. Armstrong for his extraordinary leadership in both our organizations, his friendship, and his great passion for music. This performance is made possible, in part, by Patron Sponsors Susan Graham Harrison and Michael A. Harrison, and Francoise Stone. Additional support made possible, in part, by Corporate Sponsor U.S. Bank. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 16 Title page of the original 1745 libretto of Le Temple de la Gloire .
    [Show full text]
  • The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years Of
    Press release | 30/3/2017 | acr | Updated: July 2017 The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years of the Future of Opera 10 premieres for this major birthday, two of which are reencounters with titles of legendary Felsenstein productions, two are world premieres and four are operatic milestones of the 20 th century. 70 years ago, Walter Felsenstein founded the Komische Oper as a place where musical theatre makers were not content to rest on the laurels of opera’s rich traditions, but continually questioned it in terms of its relevance and sustainability. In our 2017/18 anniversary season, together with their team, our Intendant and Chefregisseur Barrie Kosky and the Managing Director Susanne Moser are putting this aim into practice once again by way of a diverse program – with special highlights to celebrate our 70 th birthday. From Baroque opera to operettas and musicals, the musical milestones of 20 th century operatic works, right through to new premieres of operas for children, with works by Georg Friedrich Handel through to Philip Glass, from Jacques Offenbach to Jerry Bock, from Claude Debussy to Dmitri Shostakovich, staged both by some of the most distinguished directors of our time as well as directorial newcomers. New Productions Our 70 th birthday will be celebrated not just with a huge birthday cake on 3 December, but also with two anniversary productions. Two works which enjoyed great success as legendary Felsenstein productions are returning in new productions. Barrie Kosky is staging Jerry Brock’s musical Fiddler on the Roof , with Max Hopp/Markus John and Dagmar Manzel in the lead roles, and the magician of the theatre, Stefan Herheim, will present Jacques Offenbach’s operetta Barbe- bleue in a new, German and French version.
    [Show full text]
  • A European Singspiel
    Columbus State University CSU ePress Theses and Dissertations Student Publications 2012 Die Zauberflöte: A urE opean Singspiel Zachary Bryant Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Bryant, Zachary, "Die Zauberflöte: A urE opean Singspiel" (2012). Theses and Dissertations. 116. https://csuepress.columbusstate.edu/theses_dissertations/116 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. r DIE ZAUBEFL5TE: A EUROPEAN SINGSPIEL Zachary Bryant Die Zauberflote: A European Singspiel by Zachary Bryant A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Arts in Music College of the Arts Columbus State University Thesis Advisor JfAAlj LtKMrkZny Date TttZfQjQ/Aj Committee Member /1^^^^^^^C^ZL^>>^AUJJ^AJ (?YUI£^"QdJu**)^-) Date ^- /-/<£ Director, Honors Program^fSs^^/O ^J- 7^—^ Date W3//±- Through modern-day globalization, the cultures of the world are shared on a daily basis and are integrated into the lives of nearly every person. This reality seems to go unnoticed by most, but the fact remains that many individuals and their societies have formed a cultural identity from the combination of many foreign influences. Such a multicultural identity can be seen particularly in music. Composers, artists, and performers alike frequently seek to incorporate separate elements of style in their own identity. One of the earliest examples of this tradition is the German Singspiel.
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]
  • April 1911) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1911 Volume 29, Number 04 (April 1911) 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 29, Number 04 (April 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/568 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]. TWO PIANOS THE ETUDE FOUR HANDS New Publications The following ensemble pieces in- S^s?^yssL*aa.‘Sffi- Anthems of Prayer and Life Stories of Great nai editions, and some of the latest UP-TO-DATE PREMIUMS Sacred Duets novelties are inueamong to addthe WOnumberrks of For All Voices &nd General Use Praise Composers OF STANDARD QUALITY A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. sis Edited by JAMES FRANCIS COOKE Subscription Price, $1.60 per jeer In United States Alaska, Cuba, Po Mexico, Hawaii, Pb’”—1— "-“-“* *k- "•* 5 In Canada, »1.7t STYLISH PARASOLS FOUR DISTINCT ADVANCE STYLES REMITTANCES should be made by post-offlee t No.
    [Show full text]
  • Music on Stage
    Music on Stage Music on Stage Edited by Fiona Jane Schopf Music on Stage Edited by Fiona Jane Schopf This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Fiona Jane Schopf and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7603-8 ISBN (13): 978-1-4438-7603-2 TO SUE HUNT - THANK YOU FOR YOUR WISE COUNSEL TABLE OF CONTENTS List of Illustrations ...................................................................................... x List of Tables .............................................................................................. xi Foreword ................................................................................................... xii Acknowledgments .................................................................................... xiii Introduction ................................................................................................. 1 Opera, the Musical and Performance Practice Jane Schopf Part I: Opera Chapter One ................................................................................................. 8 Werktreue and Regieoper Daniel Meyer-Dinkgräfe
    [Show full text]
  • Information to Users
    INFORMATION TO U SER S This manuscript has been reproduced from the microfilm master UMl films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer The quality of this reproduction is dependent upon the quality of the copy submitted.Broken or indistinct phnt, colored or poor quality illustrations and photographs, print bleedthrough. substandard margins, and improper alignment can adversely affect reproduction In the unlikely event that the author did not send UMl a complete manuscript and there are missing pages, these will be noted. Also, if unauthonzed copyright material had to be removed, a note will indicate the deletion Oversize materials (e g . maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 UMl® UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MICHAEL HEAD’S LIGHT OPERA, KEY MONEY A MUSICAL DRAMATURGY A Document SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By MARILYN S. GOVICH Norman. Oklahoma 2002 UMl Number: 3070639 Copyright 2002 by Govlch, Marilyn S. All rights reserved. UMl UMl Microform 3070639 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17. United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O.
    [Show full text]