August 1908) James Francis Cooke
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Ossoifiggssasbiaoail, BROADWAY
FOR NUi«. AMUSEMENT*. AMUSEMENT*. A.'WIWKtf K\r^ _ BALE TUNITY SELDOM OF- balk-two good liquor storks, one situ- MUSEUM WOOD'S. OARDEN. NIBLO'S GARDEN, 0 . BROADWAY' ated on corner of Pearl and Frankfort New tlie of A-FOR. fared), a wall lung established House in Fob streets, York; WOOD'S MONDAY. APRIL «. 1OT1 NIBLO'SSixth week of engagement the Immediate v>clnl ou a avenue, the other l« 244 York strtot, Brooklyn, close by the main en¬ EVERY EVENING AND SATURDAY MATIN KB. MRS. JOHN WOOD. oSsoifiggssasBiAOAIl, BROADWAY. lepot leading and one of Ibe beat 4 :itv ; bar, lunch counter, trance to the Nar» Yard Inquire on either premises or to (iKKAT SUCCESS GRAND SUCCESS ' lodgings, lager beer. i tux 170 Herald Uptown the owner, NEAL MoGOLDRICK, 60 Flushing areuue, cor¬ of the celebrated and charming Artiste, OK ,3*gATKK M T BROADWAY* Branch office, l.tei h ner of Oxford, Brooklyn. MISS LAURA KEEN H, BURNAND'S BEST BURLESQUE, MISS LAURA KKKNK, POLL AND I'AKTNKR JOE, WELL STOCKED DRI o STORE.FOR BALE AT A SALK-8HOE STORE, established 16 YEARS, who will appear, for the last times, In bar exquisite and POLL AND PARTNER JOE, A great sacrllics; price 4800. siiflicleiit reasons lor selling FORdoing a good buslnes* lone lease i Iven; will take Hroon- world-famed impersonation of nroduoed with Q « real eitate or first In or KNTiRK NEW BY I ' given. Appl* at 1,846 Fulton street, near Ralph avenue, lyn mortgage exchanse good security MARY LK1QH, SCENERY HEISTER. ? HIT # Brooklyn. Mo agents. -
TRANSNATIONAL SMYTH: SUFFRAGE, COSMOPOLITANISM, NETWORKS Erica Fedor a Thesis Submitted to the Faculty at the University Of
TRANSNATIONAL SMYTH: SUFFRAGE, COSMOPOLITANISM, NETWORKS Erica Fedor A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music. Chapel Hill 2018 Approved by: Annegret Fauser David Garcia Tim Carter © 2018 Erica Fedor ALL RIGHTS RESERVED ii ABSTRACT Erica Fedor: Transnational Smyth: Suffrage, Cosmopolitanism, Networks (Under the direction of Annegret Fauser) This thesis examines the transnational entanglements of Dame Ethel Smyth (1858–1944), which are exemplified through her travel and movement, her transnational networks, and her music’s global circulation. Smyth studied music in Leipzig, Germany, as a young woman; composed an opera (The Boatswain’s Mate) while living in Egypt; and even worked as a radiologist in France during the First World War. In order to achieve performances of her work, she drew upon a carefully-cultivated transnational network of influential women—her powerful “matrons.” While I acknowledge the sexism and misogyny Smyth encountered and battled throughout her life, I also wish to broaden the scholarly conversation surrounding Smyth to touch on the ways nationalism, mobility, and cosmopolitanism contribute to, and impact, a composer’s reputations and reception. Smyth herself acknowledges the particular double-bind she faced—that of being a woman and a composer with German musical training trying to break into the English music scene. Using Ethel Smyth as a case study, this thesis draws upon the composer’s writings, reviews of Smyth’s musical works, popular-press articles, and academic sources to examine broader themes regarding the ways nationality, transnationality, and locality intersect with issues of gender and institutionalized sexism. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Louis Arthur Hamand; Coast Scenes
A Sea-Spell by D. G. Rossetti; Hubert Bath; Three Songs for a Medium Voice by Heinrich Heine; Louis Arthur Hamand; Coast Scenes. Four Lyrics for Medium Voice by Louis Arthur Hamand The Musical Times, Vol. 50, No. 794 (Apr. 1, 1909), p. 248 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/907998 . Accessed: 24/12/2014 18:27 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 128.235.251.160 on Wed, 24 Dec 2014 18:27:48 PM All use subject to JSTOR Terms and Conditions 248 THE MUSICAL TIMES.-APRIL I, 19o09 The firstaim of Mr.Rutland Boughton's choral writing is SONGS. to provideinterest in everypart, the occasions being few Love's secret. The wild flower'ssong. In a myrtleshade. whenthe lowervoices form merely an accompaniment.Words by William Blake. Composed by Granville The continuousflow of thepart-writing disguises the rigid Bantock. stanza-formofthe narrative, and with its frequent modulations Good-night. For soprano or tenor. -
HANDLEY-THESIS-2021.Pdf (325.2Kb)
MUSICAL WOMEN: A SUBJECT WORTHY OF STUDY By Jenifer Hesselbrock-Handley A Thesis Submitted in Partial Fulfillment Of the Requirements for the Degree Master of Arts Major Subject: Music West Texas A&M University Canyon, Texas May 2021 Abstract High school and college students in MUSI-1306 music appreciation courses study many composers and compositions. Of those composers, music appreciation textbooks typically briefly mention a few women composers, most notably Fanny Mendelssohn Hensel and Clara Schumann. Most music courses focus on the master composers comprised of men. This lack of representation of women composers in music appreciation textbooks creates the illusion that there have not been many women performers or composers. Many women engaged in these musical activities. While many female musicians only performed or composed for family and friends, many others performed publicly and regularly published their works. Music appreciation curricula should convey a more diverse population of composers by integrating the study of compositions written by women to achieve the learning objectives for the course. There are similar objectives used throughout MUSI- 1306 college-level music appreciation courses across the state of Texas. In these classes, students learn to identify musical works and elements in a variety of styles, analyze the elements and structure of music using appropriate terminology, and critically evaluate the influence of social, political, technological, or cultural ideas on music. Educators should offer a more diverse compilation of works that would include women composers. Compositions written by women can fulfill the overall objectives in a music course just as well as using works written by men. -
800 Jahre Musikpflege in Heiligenkreuz
>---— ‘77 L1W HEILIGENKREUZER Alois Heiligenkreuz 800 in I » Musikpflege (X) m I :::J r- 0 ~ - (J) 0 Ci) CD C m ZNiemetz -- CI) 0 z - Jahre A CD ce -- :0 3 '- m CD CD ...... "0 Ol c N :::J "~ ::T N m ...., :0 ...., CD <VERLAG ce CD m "CD :0 C CD »r N Ci) Umschlagbilder:Urnschlagbildet Vorwort Koberorgel und Giuliani-ChorgestühlGiuliani-ChOtgOStühl FederzeichungFedetzeichung von Professor Dr. Ing. Karl Simon König David FederzeichnungFederzeichnUng aus dem Heiligenkreuzer Psalterium Codex 66 (1200)(7200) Ursprünglich war vom Verlag eine Publikation ..„Orgeln Orgeln und Organisten in Heiligenkreuz"Heiligenkreuz beabsichtigt. Beim Sammeln der Unterlagen weitete sich das Thema zu einer Arbeit über die Musikpraxis in diesem Kloster, die man bis zu ihren Anfängen zurückverfolgen mußte. Dabei bildete das Antiphonar (CodextCodex 20) aus dem ersten stiftlichen Jahrhundert eine erer giebige Quelle für die Choralpflege. Sie gibt einen Einblick in die Schulung, die manche Mönche befähigte, als Cantor mit einer Gründungskolonie auszuziehen. Es wird inin dieser Studie versucht, nicht nur den Wandel im Musikgeschehen, wie er sich in Heiligenkreuz darbietet, aufzuzeigen, sondern auch einer dieser Musikpflege innewohinnewoh nenden Strahlungskraft nachzugehen. BildernachweisBildernachWeiS Die Beziehungen zur WienWiener er Universität gestalteten sich schon seit ihrer Gründung - 77, 76, 85, 88, 713 Hermann Brühlmeyer, Baden - Wien, S.5. 11, 76, B5, BB, 113 sehr rege, bedingt auch durch das Cistercienserkolleg St. Nikolaus. Aus dieser Zeit sind - 726 Marzek & Co., Wien - Traiskirchen, S.5. 126 drei "Magistri„Magistri artium"artium‘ nachweisbar. Es ist naheliegend, daß die Geisteshaltung der Früh-Früh• 72, 779 Fr. Meinrad Tomann, S.5. 43, 47, 4B,48, 57, 72, 119 renaissance in der Musikpraxis ihren Niederschlag fand. -
Gendered Musical Responses to First World War Experiences Abstract
Gendered Musical Responses to First World War Experiences Abstract This article investigates how women composers have responded to and commemorated the First World War. It juxtaposes works written between 1915 and 1916 by Susan Spain-Dunk, Morfydd Owen and Adela Maddison, with contemporary responses as part of the centenary commemorations (2014-18) by Cecilia MacDowall, Catherine Kontz and Susan Philipz. Pierre Nora’s concept of ‘sites of memory’, Benedict Anderson’s ‘imagined communities’ and Judith Butler’s theory of mourning provide a framework in order to analyse the different functions of this music in terms of our collective memory of the War. The article ultimately argues that this music contributes to a re-evaluation of how female composers experience the cultural impact of the War. By anachronistically discussing these stylistically disparate works alongside one another, there is the possibility of disrupting the progressively linear canonical musical tradition. In August 1914, London’s musical society was taken by surprise at the outbreak of war. As it was outside the main concert season, only the Proms concerts, then held at the Queen’s Hall, had to immediately consider their programming choices. On 15 August the decision was taken to cancel a performance of Strauss, and two days later an all Wagner-programme was replaced with works by Debussy, Tchaikovsky and a rendition of the Marseillaise.1 This instigated a debate in the musical press, which continued throughout the War, questioning nationalistic tendencies in music, the role of musicians in wartime, and how the War would influence musical composition. Meanwhile, women’s music, which had increasingly gained currency from the early twentieth century, continued with some vibrancy throughout the War, albeit often in non-mainstream venues and private contexts. -
Howard Glover's Life and Career
Howard Glover’s Life and Career Russell Burdekin, July 2019, updated September 2021 (This note was originally part of the preparation for a paper given at the Music in Nineteenth Century Britain Conference, Canterbury Christ Church University, July 5, 2019. See http://englishromanticopera.org/operas/Ruy_Blas/Howard_Glover_Ruy_Blas- harbinger_of_English_Romantic_Opera_demise.pdf ) This note was revised in September 2021 thanks to an email from David Gurney pointing me to Augustus William Gurney’s Memoir of Archer Thompson Gurney, which provided background on Glover’s early life as well as a summary of his character. A few other details have also been amended or added. William Howard Glover was born on 6 June 1819 in London, the second son of Julia Glover one of the best known actresses of the first half of the 19th century. Who his father was is less certain. By the end of 1817, Julia was living apart from her husband, Samuel.1 However, she was on very close terms with the American actor, playwright and author John Howard Payne, who was then living in London.2 The inclusion of Howard as Glover’s middle name and John rather than Samuel being written on the baptism record3 would strongly suggest that Payne was the father, although no definitive evidence has been found. Glover studied the violin with William Wagstaff, leader of the Lyceum Opera orchestra, and joined that band at the age of fifteen. By the age of sixteen had a dramatic scena performed at a Society of British Musicians concert.4 He continued his studies for some years in Italy, Germany and France (Illustrated Times 2 Sep. -
122 a Century of Grand Opera in Philadelphia. Music Is As Old As The
122 A Century of Grand Opera in Philadelphia. A CENTURY OF GRAND OPERA IN PHILADELPHIA. A Historical Summary read before the Historical Society of Pennsylvania, Monday Evening, January 12, 1920. BY JOHN CURTIS. Music is as old as the world itself; the Drama dates from before the Christian era. Combined in the form of Grand Opera as we know it today they delighted the Florentines in the sixteenth century, when Peri gave "Dafne" to the world, although the ancient Greeks listened to great choruses as incidents of their comedies and tragedies. Started by Peri, opera gradually found its way to France, Germany, and through Europe. It was the last form of entertainment to cross the At- lantic to the new world, and while some works of the great old-time composers were heard in New York, Charleston and New Orleans in the eighteenth century, Philadelphia did not experience the pleasure until 1818 was drawing to a close, and so this city rounded out its first century of Grand Opera a little more than a year ago. But it was a century full of interest and incident. In those hundred years Philadelphia heard 276 different Grand Operas. Thirty of these were first heard in America on a Philadelphia stage, and fourteen had their first presentation on any stage in this city. There were times when half a dozen travelling companies bid for our patronage each season; now we have one. One year Mr. Hinrichs gave us seven solid months of opera, with seven performances weekly; now we are permitted to attend sixteen performances a year, unless some wandering organization cares to take a chance with us. -
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
The Organ Music of Ethel Smyth
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks THE ORGAN MUSIC OF ETHEL SMYTH: A GUIDE TO ITS HISTORY AND PERFORMANCE PRACTICE BY SARAH M. MOON Submitted to the faculty of the School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. __________________________________ Janette Fishell, Research Director __________________________________ Gretchen Horlacher __________________________________ Bruce Neswick __________________________________ Christopher Young ii Copyright © 2014 Sarah M. Moon iii This document is dedicated to my family. iv ACKNOWLEDGEMENTS I would foremost like to thank the members of my Doctoral Committee: Professor Janette Fishell, Professor Gretchen Horlacher, Professor Bruce Neswick, and Professor Christopher Young. I truly appreciate my five years at Indiana University under their guidance and admire their inspirational models of character and excellence. I would especially like to thank Dr. Janette Fishell, my organ professor and research director, who has provided invaluable musical and academic encouragement. I am also grateful to many people and institutions in England who helped with my research: Fiona McHenry and the helpful staff at the British Library’s Music and Rare Books Reading Room; Michael Mullen and the librarians at the Royal College of Music; Peter Graham Avis, a fellow Ethel Smyth scholar; and Alex Joannides from Boosey and Hawkes for granting me permission to make a copy of “Prelude on a Traditional Irish Air” for study purposes.