December 1940) James Francis Cooke
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Leonard Slatkin at 70: the DSO's Music Director Was Born for The
Leonard Slatkin at 70: The DSO’s music director was born for the podium By Lawrence B. Johnson Some bright young musicians know early on that they want to be a conductor. Leonard Slatkin, who turned 70 Slatkin at 70: on September 1, had a more specific vision. He believed himself born to be a music director. Greatest Hits “First off, it was pretty clear that I would go into conducting once I had the opportunity to actually lead an orchestra,” says Slatkin, music director of the Detroit Symphony Orchestra since 2008 and occupant of the same post with the Orchestre National de Lyon since 2011. “The study process suited my own ethic and, at least for me, I felt relatively comfortable with the technical part of the job.” “But perhaps more important, I knew that I would also be a music director. Mind you, this is a very different job from just getting on the podium and waving your arms. The decision making process and the ability to shape a single ensemble into a cohesive whole, including administration, somehow felt natural to me.” Slatkin arrived at the DSO with two directorships already under his belt – the Saint Louis Symphony (1979-96) and the National Symphony in Washington, D.C. (1996-2008) – and an earful of caution about the economically distressed city and the hard-pressed orchestra to which he was being lured. But it was a challenge that excited him. “Almost everyone warned me about the impending demise of the orchestra,” the conductor says. “A lot of people said that I should not take it. -
18.7 Instrumental 78S, Pp 173-195
78 rpm INSTRUMENTAL Sets do NOT have original albums unless indicated. If matrix numbers are needed for any of the items below in cases where they have been omitted, just let me know (preferably sooner rather than later). Albums require wider boxes than I use for records. If albums are available and are wanted, they will have to be shipped separately. U.S. postal charges for shipment within the U.S. are still reasonable (book rate) but out of country fees will probably be around $25.00 for an empty album. Capt. H. E. ADKINS dir. KNELLER HALL MUSICIANS 2107. 12” PW Plum HMV C.2445 [2B2922-IIA/2B2923-IIA]. FANFARES (Composed for the Musicians’ Benevolent Fund by Lord Berners, Sir. W. Davies, Dorothy Howell and Dame Edith Smyth). Two sides . Lt. rubs, cons . 2. $15.00. JOHN AMADIO [flutist] 2510. 12” Red Orth. Vla 9706 [Cc8936-II/Cc8937-II]. KONZERTSTÜCK, Op. 98: Finale (Heinrich Hofmann) / CONCERTINO, Op. 102 (Chaminade). Orch. dir. Lawrance Collingwood . Just about 1-2. $12.00. DANIELE AMFITHEATROF [composer, conductor] dir. PASDELOUP ORCH. 3311. 12” Green Italian Columbia GQX 10855, GQX 10866 [CPTX280-2/ CPTX281-2, CPTX282-3/ CPTX283- 1]. PANORAMA AMERICANO (Amfitheatrof). Four sides. Just about 1-2. $25.00. ENRIQUE FERDNANDEZ ARBOS [composer, conductor] dir. ORCH. 2222. 12” Blue Viva-Tonal Columbia 67607-D [WKX-62-2/WKX-63]. NOCHE DE ARABIA (Arbos). Two sides. Stkr. with Arbos’ autograph attached to lbl. side one. Just about 1-2. $20.00. LOUIS AUBERT [composer, con- ductor] dir. PARIS CONSERVA- TOIRE ORCH. 1570. 10” Purple Eng. -
Nina Clemens Gabrilowitsch, 55, Twain's Last Direct Heir, Dies
Nina Clemens Gabrilowitsch dies Home | Quotations | Newspaper Articles | Special Features | Links | Search The New York Times, January 19, 1966 Nina Clemens Gabrilowitsch, 55, Twain's Last Direct Heir, Dies LOS ANGELES, Jan. 18 (AP) - The county Coroner's office reported today that Miss Nina Clemens Gabrilowitsch, the last direct descendant of Mark Twain, had died Sunday. She was 55 years old. Miss Clemens was found dead in her room at a Los Angeles motel where she often stayed. Several bottles of pills and alcohol were found in the room, the police said. An autopsy was planned. A Los Angeles bartender said today that Miss Clemens had quipped to him on Saturday night: "When I die, I want artificial flowers, jitterbug music and a bottle of vodka at my grave." She was the granddaughter of Twain, whose real name was Samuel Langhorne Clemens. She preferred to use the writer's family name rather than her own. Miss Clemens, who was born four months after her grandfather died, once said that although she had never known him she knew his works "backwards and forwards." Miss Clemens was the daughter of Twain's daughter, Mrs. Clara Langhorne Clemens Samoussoud, and Clara's first husband, Ossip Gabrilowitsch. Mr. Gabrilowitsch was conductor of the Detroit Symphony Orchestra from 1919 until his death in 1936. Miss Clemens's mother died in San Diego on Nov. 19, 1962. A family attorney, Al Matthews, said Miss Clemens had lived on the income of Twain's estate, which he estimated at about $2-million. He said Miss Clemens had an income of $1,500 a month after taxes. -
The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
An Analysis of Honegger's Cello Concerto
AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S -
MAY, 2010 New York Avenue Presbyterian Church Washington
THE DIAPASON MAY, 2010 New York Avenue Presbyterian Church Washington, D.C. Cover feature on pages 30–31 May 2010 Cover.indd 1 4/12/10 12:15:10 PM May 2010 pp. 2-19.indd 2 4/12/10 12:16:29 PM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred First Year: No. 5, Whole No. 1206 MAY, 2010 Kudos played for the inauguration program. He Established in 1909 ISSN 0012-2378 It is always a happy day when The also played the November 1942 dedica- An International Monthly Devoted to the Organ, Diapason arrives. Your magazine re- tion of the Aeolian-Skinner here in Aus- the Harpsichord, Carillon, and Church Music kindles my love for the pipe organ. tin, for he was Dean Doty’s teacher at Thanks for the tremendous contribu- the University of Michigan. tion you make with the publication of My father was an architect, therefore this marvelous journal. I was intrigued when they had a display CONTENTS Editor & Publisher JEROME BUTERA [email protected] Dan Stokes that showed how the planners for St. 847/391-1045 Louisville, Kentucky John’s determined what style of architec- FEATURES ture they wanted. They had two formats Two Organs by Bossi Vegezzi Associate Editor JOYCE ROBINSON Organ stoplists to choose from: they chose the one now in Altamura (Bari), Italy [email protected] I devour each issue with keen an- in Denver, and the other choice turned by Bill Halsey 20 847/391-1044 ticipation. My comment/suggestion re- out to be the building for the chapel that University of Michigan 49th Conference Contributing Editors LARRY PALMER lates to the cover story on pages 30–31. -
“What I'm Not Gonna Buy”: Algorithmic Culture Jamming And
‘What I’m not gonna buy’: Algorithmic culture jamming and anti-consumer politics on YouTube Item Type Article Authors Wood, Rachel Citation Wood, R. (2020). ‘What I’m not gonna buy’: Algorithmic culture jamming and anti-consumer politics on YouTube. New Media & Society. Publisher Sage Journals Journal New Media and Society Download date 30/09/2021 04:58:05 Item License https://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10034/623570 “What I’m not gonna buy”: algorithmic culture jamming and anti-consumer politics on YouTube ‘I feel like a lot of YouTubers hyperbolise all the time, they talk about how you need things, how important these products are for your life and all that stuff. So, I’m basically going to be talking about how much you don’t need things, and it’s the exact same thing that everyone else is doing, except I’m being extreme in the other way’. So states Kimberly Clark in her first ‘anti-haul’ video (2015), a YouTube vlog in which she lists beauty products that she is ‘not gonna buy’.i Since widely imitated by other beauty YouTube vloggers, the anti-haul vlog is a deliberate attempt to resist the celebration of beauty consumption in beauty ‘influencer’ social media culture. Anti- haul vloggers have much in common with other ethical or anti-consumer lifestyle experts (Meissner, 2019) and the growing ranks of online ‘environmental influencers’ (Heathman, 2019). These influencers play an important intermediary function, where complex ethical questions are broken down into manageable and rewarding tasks, projects or challenges (Haider, 2016: p.484; Joosse and Brydges, 2018: p.697). -
Artist Songbooks Songbooks
121 ARTISTARTIST SONGBOOKS SONGBOOKS P/V/G = Arrangements for piano and voice with guitar AVALON – JOY PAUL BALOCHE chords. A Christmas Collection Ten beautiful holiday songs PAUL BALOCHE – Easy Piano = Easy arrangements for piano with lyrics. GOD OF WONDERS Easy Guitar with Notes and Tab = Simplified arrange- from this popular contem- ments with notes, tab, chord charts, and strum and pick porary Christian vocal quartet: Integrity Music patterns. Angels Medley • The One of the most respected Christmas Song • Don’t Save It worship leaders in the United All for Christmas Day • Good States, Paul Baloche’s best- selling album God of Wonders SUSAN ASHTON News • Jesus Born on This Day • Joy (To the World) • combines great vocals with SUSAN ASHTON – Light a Candle • Manger Medley • We Are the Reason • melodic instrumentation. This SO FAR … THE BEST Winter Wonderland. songbook includes OF SUSAN ASHTON .... ______00306379 P/V/G...................................$14.95 piano/vocal arrangements, guitar chords, and lyric-only 12 songs, featuring her #1 overhead masters for 14 songs: Stir Up a Hunger • God hits. Songs include: Stand • AVALON – of Wonders • The Song of Jabez • and more. Hide Or Seek • Here In My A MAZE OF GRACE ______08739281 P/V/G.....................................$9.95 Heart • Grand Canyon • and Adonai • Dreams I Dream for more. You • Forgive + Forget • MICHAEL CARD Knockin’ on Heaven’s Door • A Maze of Grace • The Move • MICHAEL CARD – ______00306061 P/V/G ........................................$12.95 Reason Enough • Speed of JOY IN THE JOURNEY Light • Testify to Love • A Matching folio to his compila- SUSAN ASHTON/ World Away. tion of 10 years of hits. -
After the Ball David Williamson
David Williamson’s first full-length play, The Coming of Stork, premiered at the La Mama Theatre, Carlton, in 1970 and later became the film Stork, directed by Tim Burstall. The Removalists and Don’s Party followed in 1971, then Jugglers Three (1972), What If You Died Tomorrow? (1973), The Department (1975), A Handful of Friends (1976), The Club (1977) and Travelling North (1979). In 1972 The Removalists won the Australian Writers’ Guild AWGIE Award for best stage play and the best script in any medium and the British production saw Williamson nominated most promising playwright by the London Evening Standard. The 1980s saw his success continue with Celluloid Heroes (1980), The Perfectionist (1982), Sons of Cain (1985), Emerald City (1987) and Top Silk (1989); whilst the 1990s produced Siren (1990), Money and Friends (1991), Brilliant Lies (1993), Sanctuary (1994), Dead White Males (1995), Heretic (1996), Third World Blues (an adaptation of Jugglers Three) and After the Ball (both in 1997), and Corporate Vibes and Face to Face (both in 1999). The Great Man (2000), Up for Grabs, A Conversation, Charitable Intent (all in 2001), Soulmates (2002), Birthrights (2003), Amigos, Flatfoot (both in 2004), Operator and Influence(both 2005) have since followed. Williamson is widely recognised as Australia’s most successful playwright and over the last thirty years his plays have been performed throughout Australia and produced in Britain, United States, Canada and many European countries. A number of his stage works have been adapted for the screen, including The Removalists, Don’s Party, The Club, Travelling North, Emerald City, Sanctuary and Brilliant Lies. -
The Music and Musicians of St. James Cathedral, Seattle, 1903-1953: the First 50 Years
THE MUSIC AND MUSICIANS OF ST. JAMES CATHEDRAL, SEATTLE, 1903-1953: THE FIRST 50 YEARS CLINT MICHAEL KRAUS JUNE 2009 TABLE OF CONTENTS List of figures................................................................................................................... iii List of tables..................................................................................................................... iv Introduction.......................................................................................................................1 Chapter 1 – Music at Our Lady of Good Help and St. Edward’s Chapel (1890- 1907)..................................................................................................................5 Seattle’s temporary cathedrals......................................................................5 Seattle’s first cathedral musicians ................................................................8 Alfred Lueben..................................................................................................9 William Martius ............................................................................................14 Organs in Our Lady of Good Help ............................................................18 The transition from Martius to Ederer.......................................................19 Edward P. Ederer..........................................................................................20 Reaction to the Motu Proprio........................................................................24 -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Vahdah Olcott-Bickford Collection, 1800-2008
http://oac.cdlib.org/findaid/ark:/13030/c8zp4c79 No online items Guide to the Vahdah Olcott-Bickford Collection, 1800-2008 Special Collections & Archives Oviatt Library California State University, Northridge 18111 Nordhoff St. Northridge, CA, 91330 URL: http://library.csun.edu/SCA Email: [email protected] Phone: (818) 677-2832 Fax: (818) 677-2589 © Copyright 2012 Special Collections & Archives. All rights reserved. Guide to the Vahdah IGRA/VOB 1 Olcott-Bickford Collection, 1800-2008 Overview of the Collection Collection Title: Vahdah Olcott-Bickford Collection Dates: 1800-2008 Bulk Dates: 1923-1979 Identification: IGRA/VOB Creator: Olcott-Bickford, Vahdah, 1885-1980 Physical Description: 88.71 linear feet Language of Materials: English French German Spanish; Castilian Italian Portuguese Repository: International Guitar Research Archives (IGRA) Abstract: Vahdah Olcott-Bickford, née Ethel Lucretia Olcott, was an professional teacher of the Guitar, most well known for her influential Guitar Method, Op. 25, and the Advanced Course, Op. 116. She also wrote numerous articles about the guitar, and corresponded with other musicians and enthusiasts about the instrument throughout her long career. The Vahdah Olcott-Bickford Collection documents Olcott-Bickford’s professional life as a classical guitarist, an avid member of various organizations in the United States, her work with guitarists around the world, and her personal life. The collection includes scores, letters, photographs, newspaper clippings, receipts, articles, lecture notes, and guest books, and dates from 1874-1980. Biographical Information: Ethel Lucretia Olcott was born on October 17, 1885 in Norwalk, Ohio. She was three years old when she and her parents moved to Los Angeles, California. At the age of eight she started guitar lessons with George Lindsay, a well-known classic guitarist.