DOCSLIB.ORG

Ne\\- Society Initiates to Wear Flowers American Soprano Will Sing Concert at First Wellesley

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ne\\- Society Initiates to Wear Flowers American Soprano Will Sing Concert at First Wellesley elleGtcn «allege News XLV 2 3 1 1 WELLESLEY, MASS., OCTOBER 16, 1941 No. 4 Ne\\- Society Mr s. Vera M. Dean Mr. Hogan 'fo Give American Soprano Will Sing Initiates To T o Give Lectures Econo1nic Report At First Wellesley Concert In History Forum Professor Will Comment Wear Flowers An objective view of the strate­ On Industr ial Future Mme. Helen Traube! P lans gic points of the world situation Of New England Recital of Classics, Six Societies Give Roses will be presented by the History "Will New England lose the Spiritual Songs To Newest Members From Department in the form of a His­ woolen and worsted industries in Familiar to all members of the tory Forum, October 27, 28, and 29, the post-war period?" is the ques­ musical world, Mme. Helen Trau­ Classes of 1942-1343 be! will sing for her first Welles­ under the leadership of Mrs. Vera tion which Mr . John Hogan, New members of Vlellesley's six Professor of Labor Economics at ley audience at 8:30 p.m. this eve­ societies r eceived early this morn­ Micheles Dean, director of the Radcliffe College will answer at the ning in Alumnae Hall at the ini­ ing roses signifying their election, Foreign Policy Association research Economics Department dinner, Oc­ tial concert of the college series. along with a picture of their society department and editor of its pub­ tober 21, at 6 :30 p. m . in the small Mme. Traubel, who made her debut two years ago in New York, is a house and their society "family lications. dining room of Tower Court. trees." Societies will entertain prima donna soprano of the Metro­ their initiates at dinner this eve­ Mrs. Dean will give lectures at Mr. Hog an not only will com­ politan Opera Company. ning. Formal initiations are plan­ 4:40. p.m. in Pendleton 112 each ment on what our government is do­ Critics have acclaimed Miss ing to estimate the employment Traubel as "without argument, n ed for Saturday evening, October day, followed by informal discus­ prospects in the woolen and worsted one of the two great female voices 18. sions in the various dormitories New members of Tau Zeta Ep­ industry and in other industries, of this present age," and "a su­ after dinner. These informal dis­ but also will indic-ate the theoreti­ perb 2. rtist, a symbol of music's silon from the Junior class are cussions are for the benefit of Betty Barr, Louise Belcher, Eleanor cal and statistical tools of the eco­ coming of age in these United stu dents, to answer their questions nomist available in meeting the States." For American music lov­ Fletcher, Carol M. Jones, Mary and give them an oJ>portunity to situation. An open discussion will ers, the successful career of Mme. Lambert, Catherine Lav.'"rence, meet Mrs. Dean. The subjects of follow Mr. Hogan's talk. Traube! has assumed a special sig­ Caroline Muhlenberg, Jean Roberts, the three lectures are: "What Next nificance in the fact that it is Eleanor Sanburn, Edna Taylor, in Europe ? ", "Russia As a World A graduate of the University of truly an American triumph - the Helen Webster, and Sara Wilkin­ Power," and "Building a New Washington, Mr. Hogan has taken triumph of a native American son. Seniors just elected to T . Z. E. World." graduate work at Harvard Univer­ Mme. T rau be! artist, and of an art nurtured and are Josephine Boswell, Frances i:;ity and has taught at the Univer­ Mrs. Dean will conclude the inspired entirely in America. Burke, Lorna Cooke, Munayl Groh, sity of Denver and at Tufts Col­ Mme. Traubel's program fol­ Marguerite Herman, Aristine Lou­ series by addressing a Forum Din­ lege. His experience includes prac­ Taxes Raise Fe.es ner Thursday evening, October 30, lows: gee, Doris MacDonald, Joan Pinan­ tical work with labor unions and I ski, Marie Louise Stafford, and on the subject, "The Western work with the Bureau of Labor On Ticket Prices Gottes Nacht and Vorshung Hemisphere Looks to the Future." Statistics. Bee thoven Betty Timberlake. Wonne der We hmu tl~ Beeth oven Shakespeare has named as Jun­ Ich 1i be die ! Beethoven Tickets for Wellesley Formals II ior members, Gay Crosby, Mary Ser vice Fund Names New Mr. Hill Will Describe and certain other entertainment E ls a's T ra um, from "Lohe ngrin" Wagner Falconer, Elizabeth Flandreau, Committee on Education where admission is charged are - Helen Francis, Jane Jones, Barbara Sharecropper Problem s III subject to the new Federal Tax Aufenthalt chub rt A. Lewis, Joan Mallory, Elizabeth Problems of tenant farmers and W1 genlied (Wie sich dcr Members of the Education Com­ Regulations. The Internal Revenue Auegelein) Schubert McClure, Claire Richter, Suzanne mittee of Service Fund have just sharecroppers as they apply not Seligkeit S hubert Cod ~ . as amended, now imposes on R uhe meine See le Santry, Nancy Schleicher, and been announced by Elizabeth Be~l to C2.lifornia, but to the whole na­ Richard Stra uss Caecelie Richard St rauss Jeanne Waugh. New Senior mem­ '42 chairman of the committee. tion, will be the subject of dis­ taxable a dmission fees 2. tax of one IN1'ERMISSION bers are Betty Birdsall, Jean Cal­ cussion at the Forum Tea at Zeta IV Th~y 2.re: Elizabeth Harper '42, cent for each ten cents or fraction Elegie R achmaninoff lahan, Margaret Perry, Mary A. Marion Wunderle '42, Nancy Beaty Alpha Society House this after­ thereof of the amount paid for ad­ Song without words (Duet in Childs, Dorothy Dann, Theodora noon, at 4 :00 p. m. when Mr. A flat) Mr. Bos Mendelssohn '43, Jane Jones '43, Joan Haldi­ mi sion. The r equirements also v North, Marjorie Russell and Gladys mand '44, and Jane Tuttle '44. James C. Hill, Instructor in Voi lo sapote, from "Cavalleria Tc.:rn1j::n. - ~se cmrvass"()T wi~l- be- el{lcte th Deoartrrumt of Economics will specify that "there must be provid­ Rusticana" Mascagni VI New members of Zeta Alpha in each house and announced next speak on "The Sources of The ed for every place, admission to Deep River from the class of '43 are Patricia week. Grapes of Wrath." All members of which is taxable either (2.) ticket Swing low, sweet chariot the college community are invited Negro Spirituals, Adams, Suzanne Aldrich, Joan or card to evidence every admission arr. by H. T. Burleigh Davis, Ann Dixon, Jean Edmunds, to attend this discussion of an which is subject to tax, or (b) a Sea Shell Carl Engel important national problem. A Memory B lair Fairc hild Elizabeth Grimley, Patricia Har­ mechanical device or method which Blow, Blow, Thou Winter Wind rington, Mary K. Hayes, Sarah C. Junior Show Tryouts McNair Ilgenfritz Moore, Virginia Munger, Mary will register or show the number of persons entering the place." Every Needles, Sally Stover, Margaret Theatr e Workshop T o Alumnae Hall ticket or card of admission must Turnbull, Helen Wash, and Suzanne Mrs. Hodder Will Talk Run Tr youts for P arts In have printed on the face of the por­ Young. Senior initiates are Bar­ At Greek -Latin Dinner Budget Playbox Shows tion to be taken up by the manage­ bara Brett, Jane Fay, Elizabeth See '43 Class Board ment, the price for which the ticket "A Word from Thucydides for Try-outs for parts in the Budget is sold, the tax and t he total." (Continued on Page 8, Col. 1) Playbox productions of Theatre Beleaguered Democracies" will be Workshop will be held in Room the subject of Mrs. Elizabeth Hod­ 30, Green Hall, Monday afternoon, der's talk, Monday, October 20, at Director, Like Freshmen, Conquers October 20. Wellesley Alum nae Plan 6:15 p .m., in the Pomeroy dining Annual Fall Con fer en ce room. Her lecture will follow a This series of one-act plays offers dinner given by the Greek and an unusual oppor tunity for students The trustees of t he College will Latin departments. Campus Hills By Faithful Bicycle whose acting abilities are as yet hold a meeting Friday morning. "undiscovered" by Wellesley pro­ October 17, in Wellesley's Boston by Beth Kulakofsky ducers. Forty-three actresses ap­ office. Mrs. Theodore C. Haffenref­ 7 night with a prepared script note­ peared in the three bills presented f er '11 an alumna member of the ~ ellesle y Vetoes book, and a props crew who show by last year's Playbox directors, Board of Trustees, will lead the Dessert Omission real iniative." Not neglecting the and eleven were given pa1·ts in the chapel service, Saturday, October dramatic end of Barn, Mr. Satler annual Theatre Workshop pro·duc­ 18. News presents the answers to said that though the girls lacked tion in Alumnae Hall. Any student Alumnae Board members will re­ prevalent queries among students the experience of the more mature who is interested in acting may try main at Wellesley for the annual concerning Wellesley's not contin­ players he had worked with in the for parts in these plays. Fall Conference to formulate plans uing to give up Tuesday desserts Community Playhouse in Santa The outcome of an experiment for the year's activities and es­ for war relief. Barbara, California, last year, they fi rst tried last year, the Budget pecially for the Alumnae Council in more than compensated with their Last spring the student body Playbox i.s an attempt to give stu­ February. Saturday night they eagerness and freshness of attack. voted to give up its ice cream once dents of dramatic production the will meet with the Board of the a week, but according to accounts Lwdies in R etirement will be experience of working under strict a pleasant play to do as it is a melo­ Alumnae AssO'ciation.
Load more

Recommended publications
  • The John and Anna Gillespie Papers an Inventory of Holdings at the American Music Research Center
    The John and Anna Gillespie papers An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder The John and Anna Gillespie papers Descriptive summary ID COU-AMRC-37 Title John and Anna Gillespie papers Date(s) Creator(s) Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 48 linear feet Scope and Contents Papers of John E. "Jack" Gillespie (1921—2003), Professor of music, University of California at Santa Barbara, author, musicologist and organist, including more than five thousand pieces of photocopied sheet music collected by Dr. Gillespie and his wife Anna Gillespie, used for researching their Bibliography of Nineteenth Century American Piano Music. Administrative Information Arrangement Sheet music arranged alphabetically by composer and then by title Access Open Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the American Music Research Center. Preferred Citation [Identification of item], John and Anna Gillespie papers, University of Colorado, Boulder Index Terms Access points related to this collection: Corporate names American Music Research Center - Page 2 - The John and Anna Gillespie papers Detailed Description Bibliography of Nineteenth-Century American Piano Music Music for Solo Piano Box Folder 1 1 Alden-Ambrose 1 2 Anderson-Ayers 1 3 Baerman-Barnes 2 1 Homer N. Bartlett 2 2 Homer N. Bartlett 2 3 W.K. Bassford 2 4 H.H. Amy Beach 3 1 John Beach-Arthur Bergh 3 2 Blind Tom 3 3 Arthur Bird-Henry R.
    [Show full text]
  • Volume 65, Number 08 (August 1947) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 8-1-1947 Volume 65, Number 08 (August 1947) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 65, Number 08 (August 1947)." , (1947). https://digitalcommons.gardner-webb.edu/etude/181 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]. XUQfr JNftr o 10 I s vation Army Band, has retired, after an AARON COPLAND’S Third Symphony unbroken record of sixty-four years’ serv- and Ernest Bloch’s Second Quartet have ice as Bandmaster in the Salvation Army. won the Award of the Music Critics Cir- cle of New York as the outstanding music American orchestral and chamber THE SALZBURG FESTI- BEGINNERS heard for the first time in New York VAL, which opened on PIANO during the past season. YOUNG July 31, witnessed an im- FOB portant break with tra- JOHN ALDEN CARPEN- dition when on August TER, widely known con- 6 the world premiere of KEYBOARD TOWN temporary American Gottfried von Einem’s composer, has been opera, “Danton’s Tod,” By Louise Robyn awarded the 1947 Gold was produced.
    [Show full text]
  • Native American Elements in Piano Repertoire by the Indianist And
    NATIVE AMERICAN ELEMENTS IN PIANO REPERTOIRE BY THE INDIANIST AND PRESENT-DAY NATIVE AMERICAN COMPOSERS Lisa Cheryl Thomas, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2010 APPROVED: Adam Wodnicki, Major Professor Steven Friedson, Minor Professor Joseph Banowetz, Committee Member Jesse Eschbach, Chair of the Division of Keyboard Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Michael Monticino, Dean of the Robert B. Toulouse School of Graduate Studies Thomas, Lisa Cheryl. Native American Elements in Piano Repertoire by the Indianist and Present-Day Native American Composers. Doctor of Musical Arts (Performance), May 2010, 78 pp., 25 musical examples, 6 illustrations, references, 66 titles. My paper defines and analyzes the use of Native American elements in classical piano repertoire that has been composed based on Native American tribal melodies, rhythms, and motifs. First, a historical background and survey of scholarly transcriptions of many tribal melodies, in chapter 1, explains the interest generated in American indigenous music by music scholars and composers. Chapter 2 defines and illustrates prominent Native American musical elements. Chapter 3 outlines the timing of seven factors that led to the beginning of a truly American concert idiom, music based on its own indigenous folk material. Chapter 4 analyzes examples of Native American inspired piano repertoire by the “Indianist” composers between 1890-1920 and other composers known primarily as “mainstream” composers. Chapter 5 proves that the interest in Native American elements as compositional material did not die out with the end of the “Indianist” movement around 1920, but has enjoyed a new creative activity in the area called “Classical Native” by current day Native American composers.
    [Show full text]
  • California Letters of Lucius Fairchild
    California letters of Lucius Fairchild PUBLICATIONS OF THE STATE HISTORICAL SOCIETY OF WISCONSIN EDITED BY JOSEPH SCHAFER SUPERINTENDENT OF THE SOCIETY CALIFORNIA LETTERS OF LUCIUS FAIRCHILD WISCONSIN HISTORICAL PUBLICATIONS COLLECTIONS VOLUME XXXI SARGENT's PORTRAIT OF GENERAL LUCIUS FAIRCHILD (Original in the State Historical Museum, Madison) CONSIN HISTORICAL PUBLICATIONS COLLECTIONS VOLUME XXXI CALIFORNIA LETTERS OF LUCIUS FAIRCHILD EDITED WITH NOTES AND INTRODUCTION BY JOSEPH SCHAFER SUPERINTENDENT OF THE STATE HISTORICAL SOCIETY OF WISCONSIN PUBLISHED BY THE STATE HISTORICAL SOCIETY OF WISCONSIN MADISON, 1931 COPYRIGHT, 1931, BY THE STATE HISTORICAL SOCIETY OF WISCONSIN California letters of Lucius Fairchild http://www.loc.gov/resource/calbk.004 THE ANTES PRESS EVANSVILLE, WISCONSIN v INTRODUCTION The letters herewith presented have a two-fold significance. On the one hand, as readers will be quick to discern, they constitute a new and vivid commentary upon the perennially interesting history of the gold rush and life in the California mines. To be sure their author, like nearly all of those upon whose narratives our knowledge of conditions in the gulches and on the river bars of the Golden State depends, wrote as an eager gold seeker busily panning, rocking, or sluicing the sands of some hundred foot mining claim. His picture of California, at any given moment, had to be generalized, so to speak, from the “color” at the bottom of his testing pan. His particular camp, company, or environmental coup symbolized for him the prevailing conditions social, economic, and moral. While this was inevitable, it was by no means a misfortune, for a certain uniformity prevailed throughout the mining field and the witness who by intensive living gained a true insight into a given unit had qualifications for interpreting the entire gold digging society.
    [Show full text]
  • Doctor of Musical Arts
    In the Fingertips: A Discussion of Stravinsky’s Violin Writing in His Ballet Transcriptions for Violin and Piano A document submitted to the Graduate school of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Division of Performance Studies of the College-Conservatory of Music May 2012 by Kuan-Chang Tu B.F.A. Taipei National University of the Arts, 2001 M.M., University of Cincinnati, College-Conservatory of Music, 2005 Advisor: Piotr Milewski, D.M.A. Abstract Igor Stravinsky always embraced the opportunity to cast his music in a different light. This is nowhere more evident than in the nine pieces for violin and piano extracted from his early ballets. In the 1920s, the composer rendered three of these himself; in the 1930s, he collaborated on five of them with Polish-American violinist Samuel Dushkin; and in 1947, he wrote his final one for French violinist Jeanne Gautier. In the process, Stravinsky took an approach that deviated from traditional recasting. Instead of writing thoroughly playable music, Stravinsky chose to recreate in the spirit of the instrument, and the results are mixed. The three transcriptions from the 1920s are extremely awkward and difficult to play, and thus rarely performed. The six later transcriptions, by contrast, apply much more logically to the instrument and remain popular in the violin literature. While the history of these transcriptions is fascinating and vital for a fuller understanding, this document has a more pedagogical aim. That is, it intends to use Stravinsky and these transcriptions as guidance and advice for future composers who write or arrange for the violin.
    [Show full text]
  • Councilmembers Seek Renomination. 2Nd Ward Contest
    Re3 Cross Drive March 1-31 Reel Cross Drive March 1-3 i 56th YEAR, No. 39 SUMMIT, N. J., THURSDAY, MARCH 4, 1945 IJAYlAfc * CENTS CouncilMembers For Mayor Summit A.W.V5. Former Overlook Nurses Art Stcend LieufenonH In Army Nurte Corps Slum Clearance Red Cross Reports Seek Renomination. Dissolves Unit; 2nd Ward Contest And Housing Topic 526,000 First Week Petitions ar» now in circulation Joins State Hdqs. Of Women Voters Of War Fund Drive f«r Councilman-st-large Ernest S. At a meeting of the Summit "Slum Clearance aad Low In- A total of $2tS,OOQ, which ia near* Hsekok and Councilman Louii G. Unit, AWVS held on January 15, some Housing" will b« the Jsubjeet ly 30 percent of its quota of J75 OOfl Dapero of the Second Ward as can- it was decided by the entire mem- of.-. the Mai fh meeting of the was reported % Summit Chapter, bership present, that, because of didate for renomiaation to their League of Women Voter* icto he American Red Cro-.*, yesterday respectiv* pcwU ia the Jun» 12 lack of continuous services to be held Monday, March* 1- at the av»rninjr for the fir.--t wtek of fha' performed, the Summit Unit primary on the Republican ticket. Mt'thoiiiH Church-'parish hoiwr at War Fund which Councilman Dapero faces opposi- I should become a atate extension 2 p. m. continue throughout March, and members should pay their tion because petition* are being Mrs. Gertrude Gross, Overseer All groups active In the driv* circulated for .Eugene F. Daly of duea directly.to New Jersey State Headquarters- and receive assign- of the Poor and director of relief, have either completed their pre» Pearl street who seeks the nom- ments from there.
    [Show full text]
  • Toccata Classics TOCC 0126 Notes
    ARTHUR FARWELL: PIANO MUSIC, VOLUME ONE by Lisa Cheryl Thomas ‘he evil that men do lives ater them’, says Mark Antony in Shakespeare’s Julius Caesar; ‘he good is ot interred with their bones.’ Luckily, that isn’t true of composers: Schubert’s bones had been in the ground for over six decades when the young Arthur Farwell, studying electrical engineering at the Massachusetts Institute of Technology, heard the ‘Uninished’ Symphony for the irst time and decided that he was going to be not an engineer but a composer. Farwell, born in St Paul, Minnesota, on 23 March 1872,1 was already an accomplished musician: he had learned the violin as a child and oten performed in a duo with his pianist elder brother Sidney, in public as well as at home; indeed, he supported himself at college by playing in a sextet. His encounter with Schubert proved detrimental to his engineering studies – he had to take remedial classes in the summer to be able to pass his exams and graduated in 1893 – but his musical awareness expanded rapidly, not least through his friendship with an eccentric Boston violin prodigy, Rudolph Rheinwald Gott, and frequent attendance at Boston Symphony Orchestra concerts (as P a ‘standee’: he couldn’t aford a seat). Charles Whiteield Chadwick (1854–1931), one of the most prominent of the New England school of composers, ofered compositional advice, suggesting, too, that Farwell learn to play the piano as soon as possible. Edward MacDowell (1860–1908), perhaps the leading American Romantic composer of the time, looked over his work from time to time – Farwell’s inances forbade regular study with such an eminent igure, but he could aford counterpoint lessons with the organist Homer Albert Norris (1860–1920), who had studied in Paris with Dubois, Gigout and Guilmant, and piano lessons with homas P.
    [Show full text]
  • September 1936) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 9-1-1936 Volume 54, Number 09 (September 1936) 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 54, Number 09 (September 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/848 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]. THE ETUDE <^hCusic (JXCagazine September 1936 Price 25 Cents NEW DITSON PUBLICATIONS For Your Convenience PIANO METHODS AND STUDY BOOKS when you want to discover a song FOR PRE-SCHOOL, PRIVATE OR CLASS INSTRUCTION that truly appeals THE THE EIGHT CHORDAL JCet us send you a Free copy ROBYN HARMONY ATTACKS of either one or both of In the Publications of The John Church Co. these booklets— BOOK ONE BOOK TWO WITH ILLUSTRATIVE PIECES by There Are Works of Unusual Interest to Contains liberal by music portions of ex¬ cellent songs by such LOUISE ROBYN and HOWARD HANKS PIANO TEACHERS composers as CHAS. GILBERT SPROSS, BERNARD WAGNESS MELODY PICTURES DAILY EXERCISES MANA-ZUCCA, Songs for HigkVoic 75 cents each FINGER PLAYS OLEY SPEAKS, By JESSIE L.
    [Show full text]
  • The Art of Music
    ^-iSzassoife CHnrtipU Ititerattg ^library BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE eiFT OF 3Hctirg m. Sage 1891 k- 3^M3f 3J/I7/X 9306 ""'"""•^ '"'"^ ML 100.M39"" V.4 ^''^iiflnuiPL.'S.MSiP -^ comprehensive librar 3 1924 022 385 292 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022385292 THE ART OF MUSIC The Art of Music A Comprehensive Library of Information for Music Lovers and Musicians Editoi-in-Chief DANIEL GREGORY MASON Columbia University * Associate Editors EDWARD B. HILL LELAND HALL Harvard Univsrsity Past Professor, TTniv. of 'Wisconsin Managing Editor CESAR SAERCHINGER Modern Music Society of New York In Fourteen Volumes Profusely Illustrated NEW YORK THE NATIONAL SOCIETY OF MUSIC Edward Alexander MacDowell After a photo from lite THE ART OF MUSIC: VOLUME FOUR Music in America Department Editors: ARTHUR FARWELL AND W. DERMOT DARBY Introduction by ARTHUR FARWELL Associate Editor 'Musical America' Formerly Lecturer on Music, Cornell University, and Supervisor of Municipal Concerts, City of New York NEW YORK THE NATIONAL SOCIETY OF MUSIC Copyright, 1916, by THE NATIONAL SOCIETY OF MUSIC, Inc. [All Bights Reserved] MUSIC IN AMERICA INTRODUCTION Prophecy, not history, is the most truly important concern of music in America. What a new world, with new processes and new ideals, will do with the tract- able and still unformed art of music; what will arise from the contact of this art with our unprecedented democracy—these are the questions of deepest import in our musical life in the United States.
    [Show full text]
  • 557504 Bk Stravinsky US 9X 557504 Bk Stravinsky US 05/07/2018 11:29 Page 12
    557504 bk Stravinsky US_9x_557504 bk Stravinsky US 05/07/2018 11:29 Page 12 Also available in this series: STRAVINSKY Symphony of Psalms Three Russian Sacred Choruses 8.557501 8.557502 Mass • Cantata • Babel So loists Orchestra of St. Luke’s The Simon Joly Chorale The Gregg Smith Singers 8.557503 Philharmonia Orchestra 8.557504 12 Robert Craft 557504 bk Stravinsky US_9x_557504 bk Stravinsky US 05/07/2018 11:29 Page 2 THE ROBERT CRAFT COLLECTION audiences worldwide, and to using new technologies to achieve this. Many millions of people since 1945 have THE MUSIC OF IGOR STRAVINSKY, Vol. 6 enjoyed their first experience of classical music through a Philharmonia recording, and now audiences can engage with the Orchestra through webcasts, podcasts, downloads, computer games and film scores as well as through its Robert Craft, Conductor unique interactive music education website launched in 2005, The Sound Exchange ( www.philharmonia.co.uk/ thesoundexchange ). In 2005 the Philharmonia became the first ever classical music organisation to be shortlisted for 1 Three Russian Sacred Choruses 4:45 a BT Digital Music Award, and in the same year the Orchestra presented both the first ever fully interactive webcast 2 Otche Nash (Pater Noster) (1926) 1:23 and the first podcast by a British orchestra. In September 2005 computer games with Philharmonia scores were at 3 Ave Maria (1934) 1:04 No. 1 and No. 2 in the national charts, while the Orchestra’s scores for the last two Harry Potter computer games Credo (1932) 2:17 have both been nominated for BAFTA Awards. CD recording and live broadcasting both also continue to play a The Gregg Smith Singers significant part in the Orchestra’s activities: since 2003 the Philharmonia has enjoyed a major partnership with Classic FM, as The Classic FM Orchestra on Tour, as well as continuing to broadcast on BBC Radio 3.
    [Show full text]
  • Igorstravinskyan002221mbp.Pdf
    IGOR viNsn 780.92 S9129^|| 63-07656 Stra^ski>v.rjgor FedorovLch, "* 1882- * An autobiography o [N.I., T 04- - M. J?- 5 tra^anskLi, An autobiography. 195BJ M. & J Steuer, public library ase report lost cards KANSAS CITY, MO. PUBLIC LIBRARY o DDDi IGOR STRAVINSKY An Autobiography The Norton Library W W NORTON & COMPANY INC NEW YORK Inc. Copyright 1936 by Simon and Schuster, FIRST PUBLISHED IN THE NORTON LIBRARY 1962 W. W. Norton & Company, Inc. is also the publisher of current or forthcoming books on music by Howard Boatwright, Manfred Bukofzer, Alfred Einstein, Richard Franko Goldman, Donald Jay Grout, Charles Ives, Paul Henry Lang, Joseph Machlis, Arthur Mendel, Douglas Moore, Carl Parrish, Vincent Persichetti, and Marc Pincherle, Walter Piston, Gustave Reese, Curt Sachs, Arnold Schonberg. Printed in the United States of America Foreword ONE: Development of the Composer 1 TWO: Composer and Performer 87 6307656 Foreword The aim of this volume is to set down afew recollections connected with various It is in periods of my life. equally tendedfor those interested in my music and in myself. Rather, therefore, than a biography it will be a simple account ofim portant events side by side with facts of minor consequence: both, however, have a certain significancefor me, and I wish to relate them according to the dictates of my memory. Naturally I shall not be able to keep within the bounds of bare statement. As I call my recollections to mind, I shall necessarily be obliged to speak of my opinions, my tastes, my preferences, and my abhorrences. I am but too well aware ofhow much thesefeelings vary in the course oftime.
    [Show full text]
  • Stravinsky:570034Bk Hasse 3/5/07 11:10 AM Page 12
    557508bk Stravinsky:570034bk Hasse 3/5/07 11:10 AM Page 12 Jennifer Frautschi Born in Pasadena, California, Jennifer Frautschi began the violin at the age of three. She was a student of Robert Lipsett at the Colburn School for the Performing Arts in Los Angeles. She also attended Harvard, the New England Conservatory of Music, and the Juilliard School, where she studied with Robert Mann. An Avery Fisher Career Grant recipient, Jennifer Frautschi is rapidly gaining acclaim as an adventurous performer with a wide-ranging repertoire. Equally at home in the classic repertoire as well as twentieth and twenty-first century works, in the past few seasons alone she has performed Britten’s Violin Concerto, Poul Ruders’ Concerto No. 1, Steven Mackey’s Violin Sonata, and Mendelssohn’s rarely played Concerto in D minor, along with standard concertos by Mozart, Tchaikovsky and Berg. Selected by STRAVINSKY Carnegie Hall for its Distinctive Débuts series, she made her New York recital début in April 2004. An avid chamber TH musician, Jennifer Frautschi has appeared widely, with performances at the Caramoor International Music Festival, where 125 ANNIVERSARY she has performed annually since André Previn first invited her there as a Rising Star in 1992. She has given premières of important new works by Oliver Knussen, Krzystof Penderecki, Michael Hersch and others, and has recorded for Naxos LBUM a Grammy-nominated recording of Schoenberg’s Concerto for String Quartet and Orchestra, conducted by Robert A Craft who considers her one of the three or four finest violinists on the present musical scene. Jennifer Frautschi performs on a 1722 Antonio Stradivarius violin known as the “ex-Cadiz”, on generous loan to her from a private American foundation.
    [Show full text]